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AJANTA

Foreward
I was fascinated by Ajanta from my school days. I entered that world through the then available literature. What
was on offer, for the most part, were scholarly works; there was a paucity of information for the lay, interested
reader. This is so even today. This and my continued passionate interest in it are the only two reasons for my
essay into this enchanting world of sublime beauty.
My contact with the glory of Ajanta, though not erudite, original or scholarly, has been long and
continuous; what I have managed to put together here is all the information that was not available to me from
any single source. This effort merely attempts to share my pleasure with you who, in turn, may find it limited or
endless.
There is considerable literature on Ajanta paintings. These are mostly authored by experts in the field of
art and art history. I am not connected with art, but a teacher in engineering. Then what prompted me to attempt
a venture of writing this book?
I wanted to reach common people, who would not find the available literature on Ajanta easy to follow.
My engineering orientation helped me looking at certain aspects of Ajanta from a different angle,
different from that of the artists and art historians.
I approached the subject as a teacher would. First I decided on the sequence in which the material is to
be presented. Thus I have attempted to answer the FAQ, the frequently asked questions: where is Ajanta, who
were the painters, what are the themes, what pigments were used, how the wall were prepared, etc. There is also
a short chapter on the phases of Ajanta art, starting from the early period to classical period, and, finally, to the
decadent phase. I felt this would be necessary to appreciate the paintings.
It is then the description of the important caves and the paintings that they contain are taken up.
First I had given a brief description of the cave and its importance. For example, cave 19 and cave 26
do not contain any painting worth mentioning; but there are some superb relief sculptures, absolutely
breathtaking. Though multi-storied caves are common in Ellora, Cave 6 is the only double storied cave of
Ajanta.
Then I had proceeded to explain in some detail the important scenes in each cave. The explanations
avoid technical terms as far as possible. An effort is also made to maintain easy flow to retain interest. In these
discussions the focus had been to follow the story, and understand the artistic significance of the panel. While
doing this I have attempted to highlight certain special features, if they are found. For example, short description
is given about the musical traditions of the day, when musicians and musical instruments are depicted in a panel.
Further cross-reference to other panels depicting musicians is also provided.
For example, the opinion that stitched dress was introduced into India by foreigners is countered by
pointing out tailored dresses portrayed in Ajanta. Similarly in the West it is held that side-flutes were used first in
the West and that too in the 14
th
century onwards. But the 4
th
-5
th
century paintings prove this wrong.
Even the bibliography is presented in popular language.
In short I have attempted to rouse the interest in the minds of the youth on Indian heritage. I am not
certain to what extent I have succeeded. But the pleasure I had experienced is substantial. And I hope it
infectious.
. SWAMINATHAN
A-PDF Merger DEMO : Purchase from www.A-PDF.com to remove the watermark

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INTRODUCTION
Ajanta is a great art treasure. The 29 caves here are a fine example of rock-cut architecture. They contain
some exquisite sculptures, and more importantly, paintings of unrivalled beauty. It is surprising that such a
major artistic activity of Ajanta was executed by Buddhist monks without any royal patronage. The caves,
the excavation, sculpturing and painting, were completed in two phases: the first during 2
nd
-1
st
centuries BC
and the next covering a period of two and a half centuries starting from the 4
th
century AD. In these caves
one can see the progress from the early phase of paintings of the pre-Christian era of caves 9 and 10,
reaching classical perfection by the 4
th
-5
th
centuries, then the falling off into mannerism and then to baroque
ornamentation and, finally, lapsing into artistic decline before the caves were ultimately abandoned by the
6
th
century AD.
The paintings and sculptures of Ajanta are a storehouse of information about the period: the
costumes, textile design, the jewellery, the musical instruments then in use, the social order, court etiquette,
ideas of beauty and morality, categories of taste, customs and mores of the people of the time, and their
sense of levity and wit.
The paintings themselves, or what survive of them, tell us about the technical aspects of their art,
such as the preparation of the ground, the execution of the painting itself with the sense of perspective, line,
space division, colour-overlay, the material used in preparation of the pigmentation and the harnessing of
the visual and tactile senses to the pacing of the narrative to be depicted. Mysteries abound: the yoking of
the sacred and the profane; the adjacency of the naked and the robed, the division of the art activity
between the ceilings and wall murals into geometric design and figurative narration, and so on.
The Ajanta paintings are the earliest surviving paintings of India, religious or secular, barring the
primitive rock paintings. This spirit of Ajanta influenced the religious art of the whole of Asia: Sri Lanka,
China, Japan and the countries of the Far East and South East Asia.
In fact the Ajanta painting tradition is truly an indigenous religious art tradition. This is true of
other Indian religious art forms like Hindu and Jaina. The Buddha and His disciples were Indians. The
Indian artist did not feel the need to make a translation from foreign to familiar terms, as did the medieval
artists of Europe and the Buddhist Asian countries. They painted and sculpted a world they were at home
in; they painted, in a word, the life around them.

LOCATION
The caves of Ajanta are situated in the district of Aurangabad in the state of Maharashtra. Ajanta is about
100 km by road from Aurangabad and about 60 km from Jalgaon; both are connected by rail with Mumbai
and Delhi. There are air services to Aurangabad from Mumbai and Delhi. An extended stay at Aurangabad
would be rewarding, as the equally important Ellora caves are only about 30 km away.
(***Note: map of the region to be given***)
The possible explanation for the monastic establishment at Ajanta is its proximity to the ancient
trade routes. (****Do we need to explain what is known as trade route?***)
When one approaches the site the unexpected sighting of the caves around the horseshoe shaped
gorge is breathtaking. The Waghora river springs from its source at one end, to flow in a series of waterfalls

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dropping as much as thirty meters and passing through seven peculiar bowls of rock called Sat Kund,
before entering the gorge.
The caves extend along a concave line running from east to west for about six hundred meters. A
narrow pathway will take you to the entrance of Cave 1, to start the pilgrimage to the highest achievement
of Indian Buddhist art - a beginning to the end of a great tradition and a glorious chapter in the world
history of wall painting.
One can have no doubt about the suitability of the location for uninterrupted meditation and
contemplation.

LAYOUT OF THE CAVES
The caves are aligned in a horseshoe form. There are a total of
twenty-nine caves. The caves are numbered not on the basis of
chronology (or period of excavation?), but on the basis of their
physical location. The first cave in the outer-most extremity serves
as an entry point and is numbered one, and then the other caves
follow sequentially. The general arrangement was not pre-planned,
as they sprang up sporadically in different periods.
The caves are of two types: Buddhist temples called chaitya-s and Buddhist monasteries called
vihara-s. There are five chaitya-s and the remaining are vihara-s. Some of the caves are unfinished. The
caves belong to two distinct phases of Buddhist rock-cut architecture, separated from each other by an
interval of about four centuries. The earlier group of caves is 8, 9, 10, 12, 13 & 15A belonging to the pre-
Christian era and belongs to the Hinayana sect of Buddhism. The earliest is Cave 10, which was excavated,
in the 2nd century BC. After a gap of about four centuries, excavation was revived on a much more
ambitious scale, resulting in the remaining twenty-two caves that now stand as testimony to the Mahayana
sect of Buddhism.
(Note: The line diagram may be redone)

PERIOD OF EXCAVATION AND POLITICAL SITUATION AND PATRONAGE
The beginning of the Ajanta chapter is a tribute to the religious tolerance of Indian rulers. The earliest caves
in Ajanta were excavated during the rule of the Satavahana-s, who had their capital at Pratishthana (called
Paithan to day). During their rule there was brisk trade and commerce within the land and with the
Mediterranean world, which brought in enormous riches.
The second phase was of greater artistic activity at Ajanta during the rule of the Vakataka and
Chalukya dynasties from the 4th to the 6th centuries AD. These rulers, like the Satavahana-s, were
themselves Hindus but all these kings actively allowed Buddhism to flourish in their territory.
But there was no direct royal patronage during almost the entire period of Ajanta's artistic activity.
But the rich mercantile community, organising itself into guilds, had provided the requisite patronage.



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\RE-DISCOVERY
The precious caves remained abandoned till
1817 when the caves were discovered by a
company of British soldiers. Soon pioneer
archaeologists were attracted to the caves that
were lost to civilisation for more than twelve
centuries. James Burgess and Major William
Gill made copies of some of the paintings and
exhibited the first copies of the Ajanta paintings
at the Crystal Palace in London in 1866.
Unfortunately almost all of these replicas of the pictures in their original state perished in a
disastrous fire. Later some copies were made by Griffiths and Lady Herringham, to be published in 1896
and 1915. Before Indian independence, Ajanta was a part of Hyderabad state. Under the patronage of the
Nizam, the then ruler of Hyderabad, Yazdani, who was the director of archaeology, edited and published
two volumes on the paintings of Ajanta in 1933.

ROCK-CUT ARCHITECTURE OF AJANTA
Before taking up the paintings of Ajanta let us have quick look at the architecture and sculptures of Ajanta.
The caves of Ajanta offer an instructive field for the study of the evolution of rock-cut architecture
or cave architecture. Cave architecture is unique in the sense that it can be viewed as an enterprise of a
sculptor. The cave architecture, at Ajanta and elsewhere, betrays the strong influence of wooden
construction. Probably drawn from the profession of carpenters, with goldsmiths and ivory-carvers joining
hands with the sculptors.
The evolution of rock-architecture can be made to fall into two periods: the Hinayana period of the
pre-Christian era and the later Mahayana period. During the first phase, that is, the Hinayana period of 2nd
century BC to 2nd Century AD the sculptural activity was limited. The second phase began in the 4th
century AD. Sculptural compositions filled the facade, shrines, pillars, etc. Side by side with the excavation
of new caves the existing Hinayana ones were suitably modified.

Original Cave 1
Copy by Lady
Herringham

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VIHARA-S AND CHAITYA-S




The caves of Ajanta are divided into chaitya-s (monasteries) and vihara-s (temples).
The entrance to a chaitya has a prominent arched window, called chaitya-window, to light the
interior. On entering one steps into a long vaulted nave with pillared aisles on either side. At the far end is
semicircular, with a stupa at its centre. Originally stupa-s were grave mounds, which were replicated within
chaitya-s. Simple domical structure of the Hinayana time changed to cylindrical form with elaborate
carving and sculptures in the later period.
Plan of a Chaitya Front View Inside View
Stupa
Entrance

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The vihara-s are rectangular congregation halls with cells for the monks on the inner sides, leading out to
verandas. The oldest vihara-s at Ajanta were the monasteries attached to the earliest Hinayana chaitya-s.
Later the vihara included the function of the chaitya. This was done by adding a shrine with an imposing
statue of the Buddha. The pillars, carved with greater zeal, surrounded the main hall and lined a narrow
passage between the monks' cells on two sides of the hall.

SCULPTURE OF AJANTA
Sculptural activities during the two periods were different in certain respects. During the first phase, that is,
the Hinayana phase, the Buddha was not shown in the human form, but only in symbols, such as the
Wheel, the Bodhi Tree and the Feet of the Buddha. But during the Mahayana period sculptures and
paintings of the Buddha and the Bodhi-sattva-s, important divinities in the Buddhist faith, were added.
The figure-sculpture of Ajanta belongs to the great art-tradition
of contemporary India. Sculpture, mostly dating from the 4th and 6th
centuries AD, is remarkable for its classicism marked by qualities like
grace, elegance, restraint and serenity. The spiritual luminosity of the
contemporary images of the Buddha is, however, wanting as the
general character of the sculpture tends towards a certain heaviness of
form, and is considered inferior to the Gupta images.
Every one of the sculptures was plastered and painted, but
most of this protective layer is now lost.
Plan of a vihara Inside View
Naga Couple Cave 19
Shrine
Congregation
Hall
C
e
l
l
s

f
o
r

M
o
n
k
s

C
e
l
l
s

f
o
r

M
o
n
k
s

Entrance

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THEMES OF PAINTINGS
The subjects of the pictures are chosen mostly from the jataka-s, Buddhist mythological stories of the
previous lives of the Master. Episodes from the life of the Buddha form the next important theme in Ajanta.
Some of these are mostly self-contained, whereas some are narrative, moving from scene to scene. A few
of the solo-pictures do not seem to have any religious import.
The paintings in the last category are the decorative in character. Floral decorations, geometrical
design, birds, animals, mythical nymphs and monsters fill up every square inch of available space - on the
ceilings, pillars, etc. The ceilings contain paintings mostly of secular themes.

COMPOSITION Earlier Phase (2nd-1st centuries BC)
There are very few surviving paintings of the earlier period. From what is left and from the copies made by
the pioneers in Caves 9 and 10, we find that the narrative paintings are arranged in the form of a long
canvas, at eye level, progressing from episode to episode. The scenes unfold on a ribbon-like space on the
walls, but are not subdivided as in the later period except for an occasional tree, or a building or a group of
rocks, which vaguely defines the end of one scene and the beginning of another.

Shad-danta Jataka Cave 10

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OMPOSITION Later Phase (4th century AD onwards)
In later centuries the paintings overspread the entire surface
of the wall. In these paintings narratives proceed from scene
to scene and from act to act harmoniously. The scenes are
not separated into frames that might disturb the
concentration of the viewing devotees.





Many panels suggest that the Ajanta artists used
specific conventions for separating scenes and acts from each
other using suggestive punctuation marks. Thus in a palace
scene pillars may separate the scenes and gateways, rocks,
etc. may mark the end of one act and the beginning of the
next one.



An interesting feature of the Ajanta narration, both
during this period as well as the earlier period, is that a strict
chronology of events was not followed. In many panels one
can see that scenes are grouped according to the location of
the scenes rather than the chronological sequence.

Birth of the Buddha Cave 2
Maha-janaka-jataka Cave 1
Scene 1
Scene 2
Scene 3
Scene 4
Scene 5

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PAINTING TECHNIQUE
The technique of Indian wall painting, which was followed with little change in all later examples of mural
decoration in Asia, murals were painted on an almost dry wall, called fresco secco. On the other hand in
technique followed in the West, called fresco buono, the painting is done on a moist wall.
It might have taken centuries for the Indian artist to develop the technique of preparing the wall for
painting, and also to select suitable pigments with an appropriate binder, though no trace of such
experimentation has been found. The importance of these may be seen from the fact that the Ajanta
paintings have withstood the ravages of time with remarkable resilience.
However, from the outlines of some incomplete paintings in certain caves we get to know the
painting sequence followed by the Ajanta artist.

Preparation of the Wall
We have actually no clue to the technique of preparing the wall. But the treatises which were written later
based on the Ajanta experience give us an idea. For example, Vishnu-dharmottara, a 7
th
century treatise
says: "A buffalo-skin was boiled in water until it became soft. Sticks were then made of the paste and dried
in the sunshine. It is stated that if colour is mixed with this hard plaster, called vajralepa, it makes it fast,
and if white mud is mixed with it, it serves as perfect medium for coating walls. Vajralepa coating was
usually done in three layers over a plaster which consisted of powdered brick, burnt conches and sand,
mixed with a liquid preparation of molasses and drops of a decoction of mudga (Phaseolus munga). To
this a quantity of mashed ripe bananas or tree resins and the pulp of bilva fruit (Aegle marmelos) were also
added. After the mixture had dried it was again ground down and mixed with molasses and water until
became soft. The wall surface was washed down with water until it was thoroughly clean and then the
plaster was applied with a spoon. This was the two-fold process by which the wall was prepared for
painting."

Pigments used
The artists of Ajanta used a wide variety of pigments. Most of them are minerals available locally as
residual products of volcanic rock. Red ochre, vivid red, yellow ochre, indigo blue, lamp-black, chalk
white, terra verte, green and blue (lapis lazuli) have been identified the pigments used. Lapis lazuli, used
for blue, alone was imported, as it has not been found in the neighbourhood.
Mixed colours were used on rare occasions. Not all colours were used everywhere, nor with the
same consistency. They were determined by the theme. Classical Indian painting does not aim at contrasts
of a medley of colours, but attempts at saturating the surface with highly charged and dense colours.

PAINTING SEQUENCE
We can infer the sequence the artists followed from some of the unfinished paintings. A preliminary sketch
in iron ore was drawn on the surface while it was still slightly wet followed by an under-painting in grey or
white. On this surface the outline was filled in with various colours, proceeding from under-painting as the

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base to the appropriate colours of the subject. Finally, when dry, the semi-fresco was finished off with a
dark outline for final definition and a burnishing process to give lustre to the surface.

AJANTA PAINTING ART TRADITION
The paintings of Ajanta are the earliest representation of Indian painting tradition available to us. Even the
very earliest paintings at Ajanta, of the second century BC, demonstrate a sophisticated technique,
achievable only after centuries of experimentation. Unfortunately we have no trace of such
experimentation. To get to know this great tradition one may turn to the treatises written based on the
Ajanta experiment.
For example, the Kama-sutra of Vatsyayana, the well-known treatise on eroticism, enumerates the
following Six Limbs of Painting: Rupa-bheda (differentiation), pramanam (proportion), bhava
(suggestion of action/mood), lavanya-yojanam (infusion of grace), sadrisham (resemblance) and varnika-
bhangam (application of colour). Samarangana-sutra-dhara, a 11th century treatise on architecture
prescribes Eight Limbs of Painting: bhumi-bandhana (preparation of surface), varnika (crayon work),
rekha-karma (outline work), lakshana (features of face), varna-karma (colouring), vartana-karma (relief
by shading), lekha-karma (correction) and dvika-karma (final outline). Brihat Samhita (6th century AD)
and Vishnu-dharmottara (7th century AD) also set forth the rules for painting.
It is in these that we find classifications of the types of painting suitable for temples, palaces, and
private dwellings and a distinction among 'true, lyrical and secular' paintings.

PRODUCING DEPTH AND RELIEF
There is a common misconception that traditional Indian painting lacks depth and relief. True, in the later
paintings, like miniature paintings of later mediaeval period, this aspect was not highlighted. But from very
early times, Indian artists have been using a variety of techniques to produce the illusion of the third
dimension.
Perspective was one of them. Relief and plasticity is also realised suggesting a third dimension in
terms of the distances through a technique called kshaya-vriddhi (loss-and-gain) meaning fore-shortening
of the limbs.
More elaborate was the use of shading techniques, of which there were two main variations, called
animnonnata (flat) style and nimnonnata (high-relief) style. The later, also called vartana (shading), had at
least three variations. A totally different approach was ujjotana (adding-highlights).
All these are represented in the Ajanta paintings, and conclusively prove the high level of
sophistication reached by the Ajanta artist.


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Perspective
The paintings of Ajanta conclusively prove that the Ajanta
painter was proficient in perspective drawing. Further, the
surviving paintings in Ajanta make it amply clear that the
Ajanta artists also employed such advanced techniques like
reverse perspective and even multiple-vision that the
present-day movie-makers use. The choice of the technique
depended on the theme and the space available.
The scene on the left is from Shibi Jataka painted in Cave
17, and rendering in perspective is brought out expertly.







Relief through use of colours
The artists have also employed, as mentioned before, a variety of techniques to bring out depth and relief
using colours. Ajanta artists have employed basically two different methods to bring out depth and relief.
Animnonnata
One was a conventional flattened perspective called animnonnata
(flat style), that is, using dark colours for the subjects in the
foreground against a background of lighter shades, or vice versa.
The scene on the left is an example of this technique. The woman
in the foreground is painted in light colour without nuances, the
one behind in slightly darker shade and finally the being the
darkest of all.
An elaborate method for bringing out relief is called nimnonnata (high relief style). In this, relief and depth
were expressed by a judicious choice of tones and colours, known as vartana (shading) and ujjotana
(adding highlights).


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Vartana (shading) Techniques
Vartana was a high-relief technique to produce an illusion of the third dimension. The three kinds of
vartana (shading) techniques are employed in Indian paintings.
Patraja (shading like the lines of a leaf), following the contours of the body to
create an illusion of depth,





binduja, a dot and stipple method, in which an illusion of depth is achieved
by painting dots with variations in concentration of dots, can be seen on the
belly, below the breasts, etc, and

Airika , meaning softening hard lines, where an illusion of depth is achieved
by executing tonal variation and avoiding hard-lines.




All these methods have been employed at Ajanta to a greater or lesser degree.
Ujjotana (adding-highlights) Technique
Ujjotana refers to the method of specifically adding lighter and brighter
pigments to produce an optical effect. Highlights in the form of white
patches added on the cheeks, the chin, nose, etc to get a three
dimensional effect of the characters.


Chaya-tapa (shade-and-shine) Technique
Towards the end of the classical period was introduced a new technique of
luminosity called chaya-tapa (shade-and- shine). This creates a kind of soft
chiaroscuro effect, which makes the sacred countenances of the Buddha and
Bodhi-sattva-s radiate with a mysterious glow.




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Use of Lapis Lazuli, a blue Colour
It was with the discovery of the use of lapis lazuli, a blue coloured
mineral, during 4th-5th centuries that the Ajanta artist added another
dimension to his paintings. Its cool transparent blue was an effective
medium for creating visual depth, by contrasting it with the warmth of
the red and brown tones.


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PAINTING AND DANCE - A UNIQUE RELATION
The relationship between painting and dance and between dance and sculpture are remarkable Indian
traditions not found elsewhere in the history of world art. Vishnu-dharmottara (7th century AD) stresses
the impossibility of attaining a proper expression of feeling in painting without the knowledge of the art of
dance. In the old days mastery in the art of dancing was invariably considered essential for personal
perfection.
There are paintings from the earliest as well as the
latest periods of Ajanta art, which depict dance scenes. The
vibrant grace of pose and gesture of these dancers invests
them with a swaying, flower-like rhythm and movement.






A very important feature in the depiction of the human form,
particularly of women is the emphasis on her gait, and the whole figure
structured round three main axes in order to conform to this tribhanga pose. It
gives the body an S-shaped rhythm, a fluency of line, which, together with the
appropriate gestures of hands, conveys a wide range of expressions. It is
practised by dancers even today, particularly in odissi, a classical dance form
from the Eastern part of India.

A Dancing Girl
Maha-janaka Jataka Cave 1
Maras Daughter
Cave 1

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SCULPTURE AND PAINTING ANOTHER UNIQUE RELATION
The kinship we find between sculpture and painting, as that between
painting and dance, in India is something altogether unique in the history
of world-art. Most impressive is the way the two art-forms co-exist at
Ajanta, complementing each other.
In the Ajanta compositions sculpture blends with the murals,
colours with the colour-scheme, flower-studded door-panels with the
glowing wallscape and the decoratively-painted ceiling. A yearning for
mutual exchange and unity that we find here permeates the walls of
Ajanta, resounding with the story of this unity bonded in faith.
In Ajanta and elsewhere even the sculptures were fully painted,
though most of the paint has disappeared. The blending achieved must
have been astonishing when the stone carvings were bedecked in
colours, falling in line with the hue and colour-scheme of the murals.
One can only imagine the riot of colours of the original!

A Divotee (painting)
worshipping the Buddha
Cave 6

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MUSICIANS & MUSICAL INSTRUMENTS
Ajanta offers scope for study of development of musical heritage of India. We can see both the continuity
and change over the period as presented in Ajanta itself.
A variety of musical instruments - flutes, double-sided drums closely resembling
mridangam, vertical drum now extinct, stringed instruments very similar to mandolin, conch-shell - have
been depicted, both in paintings and in sculpture. These cover the period from the 2nd century BC to the
about 6th century AD.

On the left we can see the court dancer is supported by a orchestra
consisting of flautists, cymbal players and drummers. This scene is
from Maha-janaka-jataka painted in Cave 1.








In the same cave, when Maha-janaka, the king, abdicates to become
a monk, he is givena royal send off, the procession includes
musicians playing mridangam, flute and cymbal.

Again in Cave 1 in the famous composition of Bodhisattva
Padmapani we find a kinnara playing a kachchapa-vina.






The entrance to Cave 17 contains a painting of Indra along
with divinities coming down to the earth to worship the
Buddha. His entourage include a number of musicians like
drummers and flute players.

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RENDERING PARTS OF THE BODY - Symbolism based on Animals and Plants
The traditional rendering of the parts of the body should resemble, and be based on, similes drawn from
plant or animal-life. This has parallel in Indian literature.
We come across with symbolism of the Indian kind where sensuous lips are ripe and full like the bimba-
fruit (Momorda monadelpha), fingers likened to lotus-petals, etc. Accordingly in paintings, the eyes
suggest lotus petals and arching brows the curve of the Indian bow. Here the allusion is not to the form but
to the content, to the mood. It is a suggestion and not realistic likeness.
Feet like lotus flowers (charana-kamala) in another metaphor met with
frequently in both art and literature.




Male torso is very often compared to the head of a cow (go-mukha-khanda).




Instances of application of such similitude abound in Ajanta. The following are some examples.

Go-mukha-khanda meaning torso like the head of a cow is illustrated in
number of panels, of which the portrayal of King Sanjaya in the narration of
Visvantara Jataka in Cave 17 is one.



Divine faces are ovoid (shape of the egg), shoulders of the gods are likened to
the massive domed head of the elephant, and arms to its tapered trunk.



In the same composition we see the hands painted supple like a rose-
bud, and trying to bring out the bone-and-muscle structure.

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Further the thigh and leg-line should be analogous to the trunk of a
banana-tree drawn in tapering lines, the feet to the leaves (pada-pallava).
Both these metaphors can be deduced from the famous solo picture,
popularly known as Lady at her Toilet.








This way of representation ignores the anatomy of muscles and has been later termed `artistic anatomy'.


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BODY POSTURES (sthaana-s)
In Indian tradition the postures were identified and distinct terms to denote various positions of the body
were used to cover the entire range. This systemising and adopting a whole range of postures was
complete, perhaps, by the 4th century AD. It is possible that the same was greatly influenced by the
contemporary dance traditions, which by that time had reached a very high level of sophistication.
Thus the postures covering the range from rijva-gata (frontal) to parshva-gata (strict profile) are,
anriju (back view),
sachikrita-sharira (a bent position in profile),
ardha-vilochana (the face in full profile but the body in three-quarter profile),
paraa-vritta (head and one shoulder turned backwards),
prishtha-gata (back view with upper half of the body partly visible in profile),
pari-vritta (the body sharply turned back from the waist upwards) and
samanata (back view of a squatting position with bent body).
From the beginning of the Mahayana phase, in Ajanta one cannot find a single scene in which the
poses of characters are monotonous. This is particularly so with the depiction of women shown in
congregation. One can notice restricted body positions, tending to monotony, in the pre-Christian Hinayana
paintings. ****(Vasanth may choose some examples)***

RELIGIOUS MOTIFS
In early, Hinayana period the doctrine, rather than the Buddha, was worshipped. The Buddha himself was
remembered only in symbolical references, the Bodhi-tree and the Feet of the Master.
Later in the Mahayana period the image of the Buddha came to be worshipped. Bodhi-sattva
became another important divine aspect that was included worthy of worship. The Bodhi-sattva-s of the
Mahayana pantheon are personifications of the virtues and power of the Buddha. They are Beings who
have renounced the possibility of Buddha-hood in order to devote themselves eternally to the alleviation of
the pain of human existence. Their successive incarnations were compiled into, what are known as, Jataka
stories. These saving divinities invited the prayers of men like the gods and goddesses of the contemporary
Hindu practices.
On the walls of Ajanta are depicted these Jataka stories and incidences from the life of the Master
with extraordinary felicity and devotion.

20
PORTRAYAL OF WOMEN
Women of Ajanta are art connoisseurs delight. One starts wondering how such women came to be
depicted in a religious shrine at all. The Ajanta artist has painted the whole range of women characters:
ladies of court and their maids, common women in their house-hold chores and dancers. They are drawn
with great zest and each one is a brilliant study. They crowd around the heroines, decorating themselves,
move about with great dignity in swaying rhythm and listen to holy sermons, recorded in frozen dance
poses. The Ajanta womon was the theme that gave full scope for expression of creative genius for the
Ajanta artist.
Undoubtedly the Ajanta artist had succeeded in reproducing the soft roundness of her breasts, the
curves of her hips, the turn of her head, the contortions of her body, the gestures of her hands, or the
slanting glance of her eyes. Every one of the Ajanta women is invariably refreshing.












Clothed in Nakedness
We wonder why very sensuous women were
painted at all in these religious caves. To add
to our bewilderment, we find that the normal
practice in Ajanta depicts the heroines in the
scenes naked, or in near nudity, while all the
maids in the same scenes are fully clothed.





Nandas wife
Conversion of Nanda, Cave 1
Courtiers
Champeyya jataka, Cave 1
Nandas Wife
Conversion of Nanda,
Cave 16
Holy Bath
Lustration and enunciation,
Cave 1

21
Black is Beautiful
Further, we may have no explanation for the
fact that most of the heroines of Ajanta are
dark complexioned. Perhaps contemporary
taste included black as an attractive
complexion for skin. It may be pointed out
that the sweetheart of the hero of Kalidasas
Megha-dhutam was a dark complexioned
beauty. Werent both Rama and Krishna
black? Some even opine that this is due to
the southern influence.

DEPICTION OF MOVEMENT
The treatise Vishnu-dharmottara prescribes the qualifications for the painter. It says: "He who paints
waves flames, smoke, streamers fluttering in the air, according to the movement of the wind, should be
considered a great painter." Accordingly Ajanta painters took great pleasure in composing scenes
involving movement with great zest.
The floating clouds, the swaying foliage and apsaras and
gandharvas flying swiftly through the air, produce a fantastic
movement and excitement, and every connoisseur of art was
intoxicated by its beauty. Some even consider that such scenes are
considered to be influenced by Kalidasa's poetry.
Or was it the other way about?


HUMOUR
Humour has always been an integral part of Indian life. In literature we
find vidooshaka-s and court-jesters found a prominent place in royal
courts. In Ajanta, we find a clown in every court scene invariably.
Very often he was at his pranks, even in serious situation. Clowns and
cherubs are found in playful moods on the ceilings. On the left is
shown a servant stealing fruits when the royal household is immersed
in a religious discourse.
The Ajanta artist is enigmatic. He has painted humorous
scenes in the most unlikely places!



Padmapanis Consort
Padmapani panel
Cave 1
Black Apasaras
Adoring the Buddha Panel,
Cave 17
Indras Descent, Cave 17
Servant Stealing Fruit
Champeyya Jataka,
Cave 1

22
PAINTING ON THE CEILINGS
For reasons unknown, the Ajanta artist did not paint religious themes on the ceilings. (There are, however,
a few places on the ceilings, where the painted motifs can be associated with religion, like in the central
carpet-design in Cave 17, and images of the Buddha in Cave 19. These should be taken as exceptions.) But
on the ceilings the colour scheme and delineation are rendered with equal craftsmanship. Spontaneity of
movement is evident in all these. These drawings have taken the texture of a carpet, brilliantly woven,
immediately captivating the eyes and filling the senses. The ceilings are filled with geometric designs,
flower decorations, animals and birds and scenes in lighter vein.

Geometric Designs
One of the themes is the huge concentric circle enclosed in a square, with
number of flowery bands within it, as are usually to be found in the centre of
the ceiling, main hall, antechamber and inner shrines.





Another equally cherished theme consists of a number of rectangular
panels filled with decorative motifs framed by smaller squares or rectangles with
representations of fruit and floral forms. The overall effect is that of an enormous
printed textile spread over the sanctuary.



These decorative panels is a store house of ornamental design. These patterns are very similar to
decorations done in relief sculptures in Ajanta and elsewhere.
Many of the motifs and ornaments that we find on the ceilings of Ajanta are still alive. They have
been absorbed into the different branches of Indian artistic expressions and are esteemed even today: in the
decorations on the floor, like alpana, rangoli and kolam, jewellery, brocades and borders of conventional
saris, dresses, etc.

Animal Motifs
Ajanta ceilings are replete with animals
and birds. They are both realistic like bulls
in repose or in fight, mythical animals and
birds. They along with creepers and flowers
fill up the face harmoniously. In sheer
In front of Shrine
Cave 2
In the main Hall,
Cave 1

23
dynamism and movement the animals on the ceiling, one may say, are superior than the compositions on
the wall!

Scenes in a lighter Vein
Clowns and cherubs are found all over the ceiling,
cradled amongst flowers, playing on a swing, frolicking
around are some of the common scenes in lighter vein.





Most intriguing and least expected in a
religious shrine are the scenes,
depicting a king in his harem and
friends enjoying each other's company
with wine!





24
PHASES OF AJANTA ART
Ajanta paintings were done over a period of eight centuries, from the 2nd century BC to the 6th century
AD. During this period there have been many changes - changes in taste, manner, and style on the one
hand, and attitude towards life and beyond, and religious lore. The history of these changes reflected in art
too. It is fascinating to follow these changes, thus, the development of art style. For each generation
expresses in works of art its own concept of beauty, and how it modifies or rejects the ideals of the past.
Sometimes simplicity is emphasised. At other times profuse and lavish ornamentation is in fashion.
During one period, painters prefer studied dignity and what they call 'good taste'. During others they like
rich decoration so much that every inch of a given wall is filled with endless and delicate ornamentation.
This is style - style that is different in every age and always changes.
In most forms of art one may discern a gradual progression. A lack of experience in making and
employing tools, in narration, etc is generally the beginning. This is often called archaic style. Then
follows a mature phase, a phase of quiet dignity without excesses. Repetition of ideas, called mannerism is
perhaps the next stage to be followed by over-ornamentation, a style known as baroque. It is then decline
sets in. Ajanta is an example for this artistic development.
By sheer chance, the development of style from the beginning to its final decline can be witnessed
within the physical limits of Ajanta. In this respect Ajanta has no parallel.

Pre-Classical Period (2nd-1st Centuries BC)
In the development of any art form, the initial stage is generally called archaic or in simple terms, primitive.
This phase is characterised by rigid and lifeless portrayals. The artist is yet to understand true
representation of movement. Nor has he perfected composing scenes.
But the earliest existing examples of Ajanta
painting, of the 2nd-1st century BC in the Caves 9
and 10 cannot be classified as archaic in the strictest
sense of the word. They have already entered the
transitional period that was to carry them on to the
classical phase. This is evident from the subtle,
beautifully drawn sketches that effectively portray the
poses and gestures of the human
figure, lively representation of
animals and the grandeur of trees
and flowers.

Raja with Retinue, Cave 10
Shad-danta Jataka, Cave 10

25
Classical Period (4th-5th Centuries AD)
By the 4th and 5th centuries, AD, art in Ajanta reached a
stage that must be called classical. The classic style means not
only perfect mastery of the subject, but turning all this skill
and knowledge to the noble purpose of creating beauty:
everything is idealised, realism is only known and used in
order to create things of beauty and perfection. There is a
dignity and nobility in classic art that allows no exaggeration,
no excess, no overstatement and no dramatisation.















Period of Mannerism (End 5th Century AD)
By the end of the 5th century, there are signs that the Indian artist has made a change of style. These signs
are at first minute departures from the purely classical sentiment, and a very hesitant deviation from the
classical concepts of beauty and idealism. This is the period of mannerism.
In this phase on can notice repetition in certain
specific features of the composition. For example, there
is a monotony in the sitting posture of Vidhura-pandita.
During this period one can notice that the differences
have been narrowed in the portrayal the sacred and the
secular as compared to the earlier classical phase.

Children Playing with Hen
Hariti Shrine, Cave 2
Rakshasi in disguise
Simhala Avadana, Cave 17
Vidhura-pandita Jataka
Cave 2

26
Baroque Period (Mid 6th Century AD)
By the middle of the 6th century the style turned baroque, a
style of over-ornamentation and exaggeration.
The broad vision is progressively dissected into
compartments so that the narrative is painted, not in an idyllic
landscape, but in a maze of pillars in royal pavilions, palace
windows, porches, balconies, city walls, shops and
monasteries.
The eye-slits are stretched out of all proportion to the
face, men look effeminate and women exaggeratedly
feminine, with bulging curves and rounded breasts. Both men
and women wear excessive ornament.




Period of Decline (End 6th Century AD)
Artistic standards were in the decline from the end of the 6th century; mercifully this phase did not last
long, for the Ajanta caves were abandoned forever, for reasons unknown.
The poses and decorative elements are, now, exaggerated with
heavy heads, elongated eyes, excessively large mouths, thin legs, and the
superfluous hand gestures. In addition the composition is too crowded.
The entire execution became careless, perhaps because of mass
production, and the finish of the paintings was summary.




The figures of the Buddhas came to be enclosed in separate
cubicles, horizontally covering the whole of the upper panels.
Compared with the other Buddhas on the walls of Ajanta painted
earlier, those that are painted this way lack refinement and finish.
The colours are naive, flat and unnuanced and the lines wanting in
feeling.





Bodhisattva Avalokitesvara, Cave 1
Women in a Palace Scene,
Cave 1

27


The same is true of many other compositions of the
period. In place of the shapely palms and sensitive
fingers, we have they rather stiff and simplified, which
have nothing in common with the linear expression of
soft curves typical of Ajanta.









AJANTA - INSPIRATION AT HOME
Just as the sculpture of the Gupta period provided a standard for the entire Asian world, so the paintings of
Ajanta, in style, in type and in technique, exerted their influence on Buddhist art for centuries to follow.
The paintings in the Bagh caves in the State of Madhya Pradesh, the paintings at Ellora, the Jain
paintings of the early Pandyas at Sittannavasal near Pudukkottai in Tamilnadu, Hindu paintings of the
Chalukyas at Badami in Karnataka are perpetuation of the refinement of the great murals of the Ajanta
caves.

AJANTA - INSPIRATION ABROAD
The famous paintings of Sigiriya (Srigiri) in Srilanka, contemporary with the great period of activity at
Ajanta, may be regarded as rather bold provincial reflections of the Ajanta manner.
The spread of Buddhism northward and eastward over Turkestan to China brought with it a
diffusion of the great styles of Indian sculpture and painting. The vast painted complex that once decorated
the niche of the 175-foot Buddha at Bamiyan in Afganisthan represents the Ajanta style modified by a
somewhat more linear and decorative Iranian idiom.
The eastward diffusion of the Ajanta style at sites like Kyzil and Turfan is marked by a gradual
reduction of the Indian mode to a hard and wiry linear manner.
Similar parallels between Ajanta and the Japanese art of the 8th century are to be found in the
famous wall-paintings in the Horyu-ji Kondo.





28
END OF THE AJANTA EPOCH
The creative period of Ajanta ended as mysteriously as it had begun. Some of the unfinished caves, which
were quite obviously abandoned unexpectedly, show that the emigration took place over a comparatively
short span of time.
Even if some of the caves continued to be lived in for a few hundred years after the 6th century, the
merchant wealth that financed the decoration and ornamentation of the shrines had apparently been
exhausted.
A parallel to such an unceremonious end can be seen in the abrupt cessation of sculptural activities
in Mahabalipuram almost around the same time as that of Ajanta, leaving behind almost all the sculptural
masterpieces incomplete.


29
MILESTONES IN INDIAN PAINTING
(Note: It is possible to give examples of each one of these, if necessary)
2 cent. BC - 2nd century AD - SATAVAHANA
Ajanta (caves 9 & 10); Caves at Karle, Nasik and Bhaja
1 - 3 century - KUSHANA
Only example is found in Central Asia
4 - 6 century - GUPTA
Bagh caves in Madhya Pradesh
4 - 6 century - VAKATAKA
Ajanta (all except caves 9 & 10)
6 - 8 century - WESTERN CHALUKYA
Vaishnava Cave at Vatapi (the earliest Hindu painting of King Mangalesan)
7 - 9 century - PALLAVA
Kailasanatha temple at Kanchipuram
7 - 9 century - EARLY PANDYA - Sittannavasal near
Pudukkottai,Tamilnadu
8 - 10 century - RASHTRAKUTA
Ellora Caves
9 - 13 century - IMPERIAL CHOLA
Brihadiswara temple at Tanjavur
9 - 16 century - PALA OF BENGAL
Paintings on Palm-leaves
11 - 13 century - HOYSALA
Paintings on palm-leaves
11 - 13 century - KAKATIYA
Temple on Tripurantaka Hill, Andhra Pradesh
11 - 15 century - MEDIEVAL WESTERN
llustrations on palm-leaves (Beginning of Miniature paintings)
14 - 17 century - VIJAYANAGARA
Virupaksha temple at Hampi and Virabhadra temple at Lepakshi
16 - 18 century - MOGHUL
Miniature paintings
16 - 19 century - RAJASTHANI
Mewar, Bundi, Kota, Bikanir, Jodhpur, Kishangarh and Kachhawa Schools - Miniature paintings
17 - 18 century - PAHARI
Basholi, Gular, Kangra, Jammu, Chamba and Tehri Garhwal
Schools - Miniature paintings
17 - 19 century - DECCANI
Ahmadnagar, Golkonda and Bhijapur - Miniature paintings
17 - 18 century - NAYAKA
Temples at Thanjavur, Chidambaram and Madurai
(This style led to Thanjavur paintings and Kalamkari paintings)
SCULPTURES OF CAVE 1
Though Ajanta is justly famous for its paintings, the caves contain some exquisite
sculptures, some of which would be briefly discussed.

THE BUDDHA IN THE SANCTUM
The door frame of the shrine are elaborately carved with scroll-work, floral motifs,
naga-s, mithuna-s (couples), female figures standing on makara-s (crocodile motifs), etc.
The pillars of the ante-chamber have beautiful bracket-figures of women with attendants.
The colossal relief sculpture of the Buddha in the shrine is a fine specimen of
Ajanta sculpture. He is seated in the padmasana (lotus-posture) in dharma chakra
pravartana mudra (setting-wheel-of-Dharma-in-motion-attitude).
On either side is a standing chamara (fly-whisk) bearer. They are profusely
ornamented and their luxuriantly coiled tresses fall gracefully on one side. The
vidyaadhara-s (flying-celestials) with garlands in hand on either side of the halo amidst
clouds represented by ringlets are also well conceived figures.
Below, on a double-lotus pedestal is carved the Wheel of Law in profile. This is
flanked on either side by a deer to suggest the sermon at Sarnath. In the figures of the five
monks flanking the left deer can be recognised pancha vareeya bhikshu-s (first-five-
disciples). The halo and chhatra (umbrella) over the head are painted.

THE GREAT ENCOUNTERS
Three out of the four encounters, usually called the Ominous Sights, in the life of Gautama,
which prompted him to forsake the life of pleasure, are carved over the cell to the left of the
entrance.
The panels to the right depict the young prince Gautama on a horse-driven chariot
going for a ride, where scenes of death (extreme left), old age (left centre) and disease
(right) confront him. At the centre he is seen listening to the music of a lady holding a
veena on her lap. Within the three chaitya-arches below, musicians, playing the vina are
shown in different poses.

PS: Should we include this at all?
Cave One
This is the first cave that one finds when entering the Ajanta complex, and it is vihara, a
monastery. This is one of the finest vihara-s and it is dated to the end of the 5th century
AD.

One enters through a porch which has crumbled. The
front hall (about 20 metres by 3 metres) leads into the
square congregation hall (about 20 metres by 20
metres.) The left and right aisles, and the rear veranda
are all about 3-metre wide. There are 14 cells for
monks to reside. From the rear veranda one can enter
the shrine through an ante-chamber.
The ceiling is supported by twenty exquisitely
carved and beautifully painted pillars.
The front porch has crumbled, but it still contains
several bands of fine carvings.
This cave, along with Cave 17, contains the best of
Ajanta. Almost all the areas of the walls, pillars and
the ceiling are painted.




Shrine
Rear Veranda
Congregation
Hall
C
e
l
l
s

C
e
l
l
s

Entrance
SHIBI JAATAKA
The story of the generous King Shibi might have been very popular. Anecdotes of this
charitable king are found in Buddhist, Hindu and Jain lore. Two incidents are painted in
Ajanta, the story of the king rescuing a pigeon in this cave and, the story of donating his
eyes to a blind person in Cave 17.

The Story : Bodhi-sattva was born as King Shibi, the benevolent monarch. Gods Yama
and Indra wanted to test his magnanimity. Indra took the form of a pigeon and Yama that
of a pursuing hawk. The pigeon sought protection from the king. But the hawk claimed
the pigeon as his legitimate prey and appealed for justice. The king, in order to protect
the surrendered pigeon, offered a portion of his own flesh equal in weight to that of the
pigeon. As he started cutting his flesh and putting it on the scale, the pigeon became
heavier and heavier. Finally the king himself had to climb on to the scale. It is then that
the gods revealed their true forms and showered on him great boons.

The story in this cave is depicted on the inside wall of the front
verandah, between the main doorway and the window to the left of it.








The narration is done
in three episodes. On
the extreme left is the
first scene where the
pigeon seeking refuge.
The scene where the
king offers his own
flesh is painted on the
right. The much
damaged scene of the
deva-s in heaven
celebrating is at the
bottom.
1. King rescues
Pigeon
2. King weighs
himself
3. Rejoicing in
Heaven
SCENE 1: SHIBI RESCUES A PIGEON
The first episode starts in the left.
This shows King Shibi in a palace
surrounded by ladies of the court
when the pigeon alights on his lap
to seek refuge. This part of the
painting is greatly damaged.
Towards the right there is
a Royal Pavilion.





SCENE 2: KING WEIGHS HIMSELF
The second and main
episode, King weighs
Himself, begins
immediately to the right of
this pavilion. In this scene
the king is standing by the
side of the scales and
appears to be on the point
of sacrificing his own
flesh to save the life of the
pigeon.


The third episode, which is painted below the earlier one is damaged almost beyond
recognition; but a few fragments show that it is the climax in which the gods, human
beings, animals and birds are rejoicing at the Raja's success.

CONVERSION OF NANDA
Conversion of Nanda is an episode from the life of the Buddha. This story is depicted in
this cave and also in Cave 16, where the same scene is depicted with even greater force and
feeling. The composition is also somewhat different. The Ajanta artist was not
monotonous.
The Story: After attaining Enlightenment, the Buddha converted both his wife and his son
to the monastic order, to lead a life of compassion and austerity. But his cousin, Nanda,
was weak at heart and was initially reluctant to join the order, but later converted to monk-
hood. He had his head shaved and went about begging as a mendicant. On hearing this, his
wife Janapada-Kalyani swooned.
However Nanda was not really happy and was brooding over his beautiful wife.
The Buddha wanted to show him the right path. The Buddha took him to the heavenly
abode of Indra, the lord of the gods. Nanda could see women more beautiful than his wife
and wanted to stay there permanently. He was then ridiculed by the others for favouring a
life of pleasure that is transitory. Bitten with remorse Nanda came to his senses.
Coming back to the earth he lived the life of a monk following the Law.

Some scenes from it are painted above the window on the inside wall
of the front veranda to the left of the main doorway, beyond the
narration of Shibi Jaataka.





Only a part of the story is depicted in this cave. In the main scene, shown in the centre, is
depicted the action when Nanda comes to his own house as monk begging for alms. The
1. Nanda begging for Alms
2. Maid
attempting to
revive Queen
next scene is shown on the left, where the maid is trying to revive the Queen, who had
swooned on seeing his husband as a begger.

Nanda begging for Alms

On the right, beyond the door, Nanda is
standing in the garb of a bhikshu. Inside
the apartment on the left, an attendant is
seen announcing the arrival of Nanda to Princess Janapada-Kalyaani, Nanda's wife. He
kneels down deferentially to announce the Bhikshu. His dress is fascinating, almost
modern, and we come across this dress in other scenes. Perhaps it was the standard livery
for palace attendants. To his right is a maid with a tray in her hands. Her poise is exquisite
and her hair-style noteworthy.
There is another female figure to her right sitting face-to-face with the princess.
She seems to be in discussion with the queen. There are two more damsels in a dejected
mood behind the princess. The focus of attention all most of the character is the queen, who
is receiving the sad news, on the left.

NANDA AS A BEGGER
Nanada, in the dress of a monk, is seen in this scene standing at
the door of his own house begging for alms. He is calm,
dignified, and radiating a glow of compassion. He has come to
his own house seeking food. He has reconciled to the situation,
at least for the present.










The queen is receiving the
painful news that her husband
is at her doorsteps begging in
his own house. The state of her
mind is eloquently conveyed
by the artist. Janapada-
Kalyaani, sitting on a throne
with down cast eyes, has a
melancholy expression. She is
extremely graceful. The
graceful fingers of her left hand
show the agitation in her mind.
The hand gestures reminds us
of dance mudra-s.

The Ajanta artist has employed
simple, but effective methods to
show depth. The dark-green
backdrop, laid out evenly,
presents a contrast to the warm
brown of the characters.
The custom of women
decorating their forehead with a
tilak, also known as bindi, is a
common sight today, is only
occasionally found in Ajanta. In
this mural we find that both the princess and the lady-attendant with a tray are both wearing
the bindi.
MAID TRIES TO REVIVE THE PRINCESS
On hearing that her husband was at the door in the garb of
a begger Nandas wife swooned. In order to help her, a
beautiful maid is seen pouring over her mistress. She is
bending over a rail and water with petals of flowers is
pouring out of a pitcher. The mistress is reclining on a
couch, which is not shown in the picture.

In the painting one can see the expert draughtsmanship of
the Ajanta artist, for example in the the busts and the
pitcher, sketched in extremely graceful curves, with long
sweeping brush-strokes. The melancholy mood is
conveyed through mystical soft colours.

PALACE SCENE OF THE NAAGA KINGDOM
This is an unidentified scene painted on the left wall of the inside of the front verandah.
The scene depicts the court of naaga king. He and his queen have halos of cobra-
hoods over their heads. They are watching dancing being performed by a dancer. The
crowded scene, composed of beautifully attired ladies of the court, female attendants,
dwarfs and other courtiers, is typical of the late period.
This is one of the scenes on the Ajanta walls where dancers are shown.

In the middle of the composition
the dancer can be seen. The dancer
is sketched in extremely graceful
curves. The colour scheme is also
very beautiful








(We may omit this panel.)
SHANKHA-PAALA JAATAKA


Shankha-paala Jaataka is a long story painted on a small compact
space on the left side of the main hall.







The Story: Attracted by the wealth and splendour of the naaga-world that he happened to
visit, Bodhi-sattva born King Duryodana of Magadha, wished to be born as a naaga king
in his next birth. He was, then, born as Shankha-paala, king of the serpents in his next birth
and inherited enormous wealth. But soon he got tired of all the luxuries of royal life. He
became enlightened on hearing a sermon by an ascetic, who was the king of Magadha
before he became a saint.
Shankha-paala decided to end this aimless life and went and lay on an ant-hill.
Some hunters spotted the huge snake, caught him and treated him cruelly. Alaara, a
compassionate merchant, took pity on the snake and released him paying some
compensation in the form of cattle to his captors.
The grateful Shankha-paala took Alaara to his kingdom and treated him as a royal
guest. Later Alaara became a monk and proceeded to the Himalayas to preach the Law.

The story on this composition starts with Shankha-pala listening to the sermon of an ascetic
which led to his abandoning his royal life.


1. Shankha-
pala listening
to Sermon
2. Hunters
dragging
Shankha-pala
3. Alara offering
Ransom to free
Shankha-pala
4. Shankha-pala
thanks Alara
Scene 1: SHANKHA-PALA LISTENS TO A SERMON
In this scene an ascetic, shown on the left, is giving a sermon. The head is obliterated
though the outline of the body is visible.
Before him is sitting on a cushion is the
serpent-king Shankha-pala listening to the
sermon. His hands folded in prayer he sits
with great devotion and in humility. A group
of listeners, young women and men, aged
people, birds and beasts sit around the ascetic.
Among the persons present is a
woman listening to the sermon. She is
squatting with her back to the artist in a
graceful pose, leaning to her right. She is
supporting her head with her right hand,
resting her elbow on her knee. The Ajanta
artist is adept in portraying human figures in
a variety of poses, sthaana-s. This pose is
typical in India, even today. A composition of
great observation and draughtsmanship!
We see the bolster at the back of the king has interesting patterns

Scene 2: TRAVAILS OF SHANKHA-PAALA
After hearing the sermon the naga-king decides to end his
aimless life. What follows is depicted in this scene. While he
was lying on an ant-hill some hunters find the snake and
they torture him by dragging. We can see on the top the
group pulling the huge snake by a rope drawn through his
nose. The snake-king endures all the pain without resistance.
The effort of pulling such a huge snake has been very
realistically shown.
Just below the snake we see Alara, a cattle-dealer offers
some money and cattle as compensation for freeing the
tortured snake. This part is badly damaged. Still we can see
some cattle. The realistic portrayal of the cattle shows the artist's acute observation.
(**Picture from Behl to be aadded.)
SCENE 3: SHANKHA-PAALA AND ALARA
At the bottom left of the panel, we see Shankha-paala, in
his royal form, in conversation with Alaara, his rescuer.
The royal features of Shankhapaala with his naaga hood
and the rustic demeanour of Alaara, the merchant, are
studies in contrast.








One can the consistency in portraying characters. For example, Alara is shown thrice and
physical features have not changed.
(**Picture from Behl to be added.)
MAHAAJANAKA JATAKA

This painting is considered as referring to certain scenes from Maha-
janaka Jataka. Scenes from this Jataka are painted on the left wall of the
main hall starting from the top of the door of the second cell and covering
the rest of the wall.






The Story: Bodhi-sattva born Mahaajanaka was the son of Aritha-janaka, who was banished from
his kingdom Mithila by his brother Pola-janaka. Maha-janaka went all over the world as a
merchant and amassed enough wealth to help him regain his father's kingdom. In the meantime his
uncle Pola-janaka died survived by his most beautiful and haughty daughter, Shivali. Before his
death he expressed the wish that Shivali should marry only that person who could fulfil three
conditions. Thus he set about three almost impossible conditions.
Maha-janaka fulfilled all three conditions and married Shivali without knowing that he is
marrying his cousin. However, the pomp and luxuries of the palace life was not to his liking. In
spite of the pleadings from his queen, Maha-janaka finally renounced the world and went to the
Himalayas to meditate upon the Truth.

The jataka starts only after the marriage of Maha-janaka. Fortunately the scenes are painted mostly
in the chronological order, excepting that the one among the earlier scenes of shipwreck is painted
at the very end.

IMPORTANCE OF THE PANEL
The narration of this jataka is of great importance from the point of view of art history. Due to the
fortunate survival of the major portion, depiction of this jataka offers scope for a detailed study of
both the art style and method of narration of this period.
In terms of the art style, the depiction belongs to the baroque period. These paintings show
the beginning of deterioration from the classical elegance to baroque ostentation.
A detailed study of these paintings would be rewarding as it could provide a wealth of
information regarding jewellery, textile and dress, musical instruments, architecture, etc.
Ajanta artist has followed certain conventions in composition. Scenes are not separated
from each other by frames. Instead tactfully placed rocks, gateways and pillars serve as vague
dividers that do not irritate the eye. Further, the narration may not be painted chronologically.
Ajanta artist has painted portraits of the same character in different scenes resemble each other
very closely. We may infer some in these panels.



The Composition:


We may consider that the story is narrated in four acts. The first act starts on the left where we see
the king in dilemma and the queen trying to captivate him (1). The dance scene on the right is an
attempt by the queen to captivate the king (2). In next act that follows we find the disturbed king
going through the palace gate to the forest to seek counsel from an ascetic (3), which is painted to
its right (4). The third act starts where the king announces the decision to the shocked royal
household (5) and the final act his leaving the palace (6).
3. King goes
to Hill
4. Kings
seeks Advice
5. King
announces
6. King leaves Ship Wrck
(Earlier
Scene)
ACT I
SCENE 1: MAHA-JANAKA IN DILEMMA
In the first scene of Act One, shown on the extreme left, we see
Maha-janaka in Dilemma. In this the king is seen sitting on a bed,
leaning on a striped bolster. He is wearing a crown adorned with
gems. On his left is Shivali, his queen, leaning against him. The
king does not look at his wife. But, he has a wild and vacant look.
His right hand suggests the despair.
The queen is scantly clothed, perhaps to captivate the king with
her charm! A number of maids are seen in the scene. Some of
them are looking anxiously the royal couple and the others the
dance that is taking place outside. In front of the king is an urn. A
dwarf, who is to be found in most of royal scenes in Ajanta, is in
attendance sitting on the ground to the right of the king.
Beyond the pavilion is the second scene of this act where
a dancing girl
attempts to divert the
attention of the king.
This scene is
separated from the
previous one by a
few pillars.



SCENE 2: DANCER WITH MUSICIANS
Beyond the pillars, which perhaps separate the scenes,
we see in the next scene in which a dancing girl with
musicians is entertaining the dejected king to draw him
to the pleasures of the world and to divert his attention
from spiritual pursuits. Dancing must have been a
sophisticated art during this Mahayana period, as can be
seen in this scene.
A professional dancer strikes a graceful pose of
tribhanga while her hands eloquently express the
mudras (hand-gestures). She is wearing a two-piece
upper garment attired of matching colours and a skirt of
contemporary design. Her ornaments are sophisticated
and extensive - thumb-ring set with a miniature mirror,
the ear-rings of elaborate design, and the head-dress
consisting of strings of pearls and flowers.
She is surrounded by a group of five musicians. Two are playing flutes, two are playing
cymbals, one a pair of standing drums, another playing a bell-shaped drum, close to damaru of
Lord Nataraja, and the fifth, with her back to us, a stringed instrument. Like the dancer, all the
accompanying musicians show great dynamism and movement.
The palatial surroundings and decorations, the accompaniment of a host of musical
instruments, the fantastic garments and elaborate ornaments have all successfully contributed to
staging a spectacular scene.
Undeterred by all these, we see in the next act, Maha-janaka leaves the palace through the palace
gate. The gate perhaps divides this act from the last one.

ACT II: MAHA-JANAKA SEEKS ADVICE FOM AN ASCETIC

The queen was not successful in her attempt in holding back the
king and Maha-janaka's mental turmoil has not ceased. In order
to seek advice from a saint, Maha-janaka, with his entourage,
goes out through the palace gate on an elephant.
In the next scene Maha-janaka meets an ascetic in the
Himavali Hill. The ascetic with matted hair and a rosary in his
hand is delivering his sermon from a stone platform. Among the
large number of listeners we find the king with his hands folded
in deep reverence. We find a pair of deer at the feet of the
ascetic with faces tilted up, as if in rapt attention.
ACT III: MAHA-JANAKA ANNOUNCES HIS DECISION
The third act, where the enlightened Maha-janaka
announces his decision to abdicate, is full of pathos
and feeling.
On the left is the king announcing his decision
to renounce the world in spite of the pleadings of
Queen Shivali. There are a few attendants around the
royal couple, two are waving the whisk. The girl
behind the queen is stunned with her eyebrows drawn,
and the girl above the queen is musing with a finger on
her cheek. The dwarf is still holding on to the same
vantage position.

ACT IV: MAHA-JANAKA LEAVES THE PALACE
Now we come to the last scene of the drama of Maha-janaka
leaving the palace on horseback through the palace gate. As per
the Ajanta convention the gate separates the new act from the
previous one.
The king is seen leaving the palace in full regal splendour. The
royal umbrella is held aloft. He led by a procession of his loyal
subjects A large number of palace musicians a flute palyer, a
cymbal-player, a conch-blower, a mridangist are in attendance.
The panel that follows is an earlier scene, of part of the story
chronologically anterior to the part just describe, of shipwreck
and its sequel. This is greatly damaged.



A STUDY OF THE PANEL:
PORTRAYAL OF CHARACTERS
It is interesting to study how the Ajanta artist has portrayed characters. He has maintained
continuity in dress and physical features of the characters, but brings out the contrast in the
expressions of the characters.
THE KING
The king is depicted three times: when the queen was captivating, when he
meets an ascetic and when he announces his decision. Though the sitting
posture in all the three scenes is the same, the emotional atmosphere is different.
In the first scene of Act One, the newly-wed king was in regal splendour - two
rows of necklaces sparkling with diamonds and pearls, one is short fitting the
neck and the other an elaborate one slightly longer. These are in addition to the
pearl-studded sacred-thread.
He has a vacant look reflecting his mental conflict and his hands showing his
inner pain.

When he met the ascetic the elaborate necklace was replaced with a less
ostentatious one. (But why the sacred-thread is now around the left elbow, which
in Hindu practice, is worn only doing ceremonial ablution to the dead
forefathers? Was the Ajanta artist careless?)
Coming to his expression, sitting before the sage, now, his whole deportment is
one of humility and utter surrender, his hands folded in prayer.

And finally, when he announced his decision to renounce, he had cast off
every-thing including the sacred-thread, excepting the close fitting beads. Is
the removal of the sacred thread suggestive of the impending sanyaasa?
His visage is now serene and full of compassion and love, but of
firm determination. His hands compose dharma chakra mudra (preaching-
attitude) to show that he has now found the path.






THE QUEEN

The change in the attitude of Shivali is even more pronounced in the two scenes she in
depicted, when pleading with the king in the first scene and when being informed of the kings
renunciation.
While pleading with the king in the first scene she is shown a
conceited queen. She is nude and coquettish, and is determined to
win over her husband into worldly pleasures using all charms.











When the King announced his Decision to quit she is well-draped
lady sitting "erect like a candle undisturbed by air" ready to receive
the heart-breaking news.
MUSICIANS & MUSICAL INSTRUMENTS
Musicians playing musical instruments have been shown many scenes in Ajanta. A variety of
musical instruments have been depicted, both in paintings and in sculpture. These cover the period
from the 2nd century BC to about the 6th century AD. So Ajanta offers scope for study of
development of musical heritage of India. We can see both the continuity and change over the
period as presented in Ajanta itself.
In this narration musicians are shown in
two scenes. The accompanying musicians
of the dancer in the earlier scene were
cymbal-players, flautists, drummers and a
musician playing a string-instrument. The
bell-shaped drum with a narrow ring for a
grip looks more like some of the drums
used in folk music. The standing drums are
no more found in India. We are not able to
make a judgement on the string-instrument
as this part of the painting is somewhat
mutilated.





A slightly different group of musicians
accompany the king when he abdicates. The
musician blowing a conch-shell is shown with
puffed cheeks and popping eyes. Conch is still
being used for heralding the arrival of important
people like the king or during the ceremonial
procession of deities and puja-s in temples and
houses. The mridangam (or pakhawaj) player is
shown very realistically. His instrument and
playing technique are the same as those used
today, betraying an unbroken musical tradition of
not less than 15 centuries.

We can witness another set of musicians in the
composition Descent Of Indra in Cave 17. In the
Bodhi-sattva Padma-paani panel (Line 3) in this
cave itself we come across the kinnara-s playing
musical instruments, one of the instruments
resembling modern mandolin.
DANCERS AND DANCING
Dancers have been portrayed also in other scenes in Ajanta.
For example, Dancer in the Naaga-Court in this cave is one.
Fortunately we have a composition depicting dancers
accompanied by musicians belonging to the earlier period,
namely of the 2nd-1st centuries BC in the dancers and
musicians painted in Cave 10, though badly damaged.
One can feel unaffected gay abandon in the Hinaayana
masterpiece, as against the Mahaayana painting being more
stylised. Simple clothing and the few ornaments, such as
bangles of conch-shell modelled on traditional folk ornaments
of the pre-Christian era painting is in contrast to the
beautifully designed garments, the variety of glittering
trinkets, and bewildering coiffure of the dancer in the Maha-
janaka court. The costumes, the hair styles, the shape of the
eyes and the general atmosphere all epitomise the final phase
in the development of the Ajanta style of painting.

Dancing and painting have close relationship in Indian art.
Knowledge of dancing was prescribed for painters. Gestures
of every character, particularly, the women show influence of
dance.
PRODUCING RELIEF THROUGH COLOURING
One of the methods of creating an illusion of the third dimension is through skilful use of colours.
Ajanta artist has used various techniques for this. Among them two are important. One is through a
number of shading techniques called vartana and the other is a method of adding highlights, called
ujjotana.
In the execution of the
figure of Maha-janaka and other
characters, the artist has made use
the ujjotana technique that is, by
adding white patches appearing on
the chin, breasts, arms, legs or
wherever an elevation of form was
desired.
Adding to this was the use of blue
colour, especially for the
background to create an illusion of
depth by contrasting with the warm
red and brown colours. The visual
depth is enhanced by this judicious
use of blue - of lapis lazuli - by
contrasting it with the warmth of
the red and brown tones. The
illusion of spaciousness is also
evident where the reddish ochre,
yellow ochre and dark brown tints
applied to the dancing girl and her
imposing costume stand out against
a plain bluish-green background.
Draughtsmanship
A noteworthy feature of Ajanta is
the expert draughtsmanship. The
perfection of painting technique is
displayed in the extraordinary
breadth and confidence of
draughtsmanship - the varying
thickness of line drawn with a free
flowing sweep of the brush to
depict the oval faces, arched
eyebrows, aquiline noses, and fine
sensitive lips. The lines have
become darker to serve as a suitable accessory to the vartana (shading) and ujjotana (adding-
highlights) techniques for creating an illusion of depth.
DEMARCATION OF SCENES AND ACTS
Studying the compositions of Ajanta some consider that the Ajanta artist followed certain
conventions in separating acts and scenes. This composition offers scope for such a conclusion.
A gate is often placed to herald the beginning of an act. We have two examples for this - one at the
end of the second scene, the king on an elephant starts a new act. The other is when the king passes
through the gate once more, finally leaving the palace on a horse-back after abdication.

Within the first act the pillars of the pavilion separates the first scene from the following one of
dance performance.
Gate demarcate
Acts
Pillars separate
Scenes
Gate
demarcate
Acts
CONTEMPORARY FASHION
Ajanta is a treasure house to study the contemporary fashion in
textiles, jewellery, etc. As an example, the chamara-bearing girl in
the last scene of the king leaving the palace after his abdication
sports an upper-garment with rows of geese printed on it - a fashion
referred to in the contemporary literature.










The tailored dress of the dancer as well of the other character is a
proof of high degree of sophistication in both fabric design and dress-
making. That there are no monotonous repetitions in the dress is
also to be noted.










The glorious tradition of ikkat, where the yarn is dyed to
suit design, leading to todays Chngudi, Patola and
Pochampalli, was initiated here
BAROQUE OSTENTATION
By the middle of the 6th century (***Check the date****), classical phase of simplicity and balance
gave way to a style of over-ornamentation and exaggeration called baroque. We have a maze of
pillars in royal pavilions, palace windows, porches, balconies, etc. The scenes are crowed. The eye-
slits are stretched out of proportion to the face, men look effeminate and women exaggeratedly
feminine, with bulging curves and rounded breasts. Both men and women wear excessive ornament.
The narration of Maha-janaka Jataka belongs to this period.

















Eye-slits Stretched out of proportion Maze of pillars in royal pavilions, palace windows, porches, balconies,
etc and crowded Scene
Bulging Curves Over-ornamentation
LUSTRATION AND RENUNCIATION
On the rear wall of the main hall there is a panel showing some religious
ceremony taking place in three adjacent pavilions. Some feel that these
scenes are from Maha-janaka Jataka, depicting lustration and
renunciation of Maha-janaka. However, the main characters do not
resemble those in the narration of Maha-janaka Jataka in the earlier
panel.


The panel offers scope for the study of many features of Ajanta art traditions, like the
composition and portrayal of women. In terms of composition, this panel is one of the
masterpieces of Ajanta, a proper synthesis of the details. The various skin-colours and the
red of the columns of the pavilion are harmoniously blended against the green leaves of
banana trees, producing a delightful colour-pattern. The lavish furnishing and royal
splendour of the palace is striking.
In the central pavilion is shown the preparation for the ceremony. In the pavilion on
the extreme right depicts the scene of the king being given a ceremonial bath. In the left
panel we find the ascetic being given homage.





PREPARATION FOR THE CEREMONY
The first scene, of the preparation, is shown in the
central pavilion. Two ladies are shown, one on the
right with a tray and the other kneeling. An old man
leaning on his staff and the other carrying a pitcher
on his shoulder. The posture of the lady with a tray is
exquisite. Just outside the pavilion four beggars are
seen begging. Banana trees in the background is a
part of colour compisition.









CEREMONIAL BATH
In the pavilion on the extreme right depicts the scene of
the king being given a ceremonial bath.
The king is shown squatting on a throne while
two servants are pouring water over him. The wet curly
hair of the king is seen falling on his shoulders. Three
women, extremely graceful, are holding trays and
assisting the in the ceremonial bath. A number of persons
including a court jester are scene in the scene.





ROYAL HOUSEHOLD PAYS HOMAGE
In the left panel we find the royal household
paying homage to the former king, now a
venerated ascetic. The ascetic, exuding
compassion, is seated on a low stool. A lady,
perhaps the queen is kneeling before the ascetic
and a few other ladies stand nearby. It may be
noted that the lady who id kneeling is black
complexioned.

In these scenes a few points are noteworthy. One of the ladies in the first scene is shown in
the nude, or her dresses are diaphanous. Some of the ladies in these scenes are dark
complexioned. We come across frequently with dark and nude heroines on the walls of
Ajanta.
1. Preparation
2. Ceremonial Bath
3. Paying Homage
MULTIPLE VISION - A TECHNIQUE OF PERSPECTIVE
The Ajanta artist employed perspective in a number of scenes. In some cases he has used
techniques which are quite ingenious. In this panel he has used a technique which could be
called multiple-vision in todays parlance, according to Narayan Sanyal, author of
Immortal Ajanta.
We see that in this panel is depicted a sequence of scenes in three pavilions and that
they are not in true perspective.
If the three pavilions are painted in true perspective the scene might look like the
figure shown below. Then, if one were to stand in front of the right-most pavilion, it would
not be possible to draw the details of the pavilion on the left.















To solve this problem, the Ajanta artist has adopted the method the present day movie
makers use called multiple-vision. That is, the Ajanta artist has taken three different
shots and superimposed them on one another. Actually, "the artist has not copied any
existing pavilion, but has imagined in his mind's eye, and has wished to represent it in all
its details".

BODHI-SATTVA PADMA-PAANI PANEL

A theme that is used very often in Ajanta is the Bodhisattva shown in an idyllic setting of
mountains. This is seen at the entrance to the shrine and on the walls of the ante-room.
This panel, Bodhi-sattva Padma-pani, is painted on the back wall, to the left of the
antechamber, symmetrical with Bodhi-sattva Avalokiteshvara panel on the other side of
the antechamber. It is held that it belongs to the second half of the 6
th
century.
(Location Picture to be added from Schlingloff)

This is a brilliant composition. Bodhi-sattva Padma-
paani, the central figure of this panel, is the most
popular painting of Ajanta.
To the left of the Bodhi-sattva stands His
consort holding a lily. (In this picture it is not
shown. We may choose from Schlingloff) Between
them is a chawri-bearer in blue dress and the mace-
bearer a white dress.
In the top left we see kinnara-s playing
music. On the left a mithuna-couple are in a
romantic mood.
Monkeys, peacocks and some men are
frolicking in the background.

The painting belongs to the period of mannerism deviating from the classical idealism.
(Do we have a picture covering the entire scene? Please check.)

BODHI-SATTVA PADMA-PAANI


























Bodhi-sattva Padma-paani, holding a blue lily in his hand, is a personification of perfect
compassion and perfect indifference, both existing simultaneously.
The imposing, beautifully proportioned figure is youthful and broad chested, almost
feminine, yet vigorous. His eyes are like the proverbial bow. His half-closed meditative
eyes exude compassion.
The draughtsmanship shows extraordinary confidence of the line. Expert shading
technique has resulted in a flawless smooth skin.







Indian aesthetics makes use of symbolism rather than realistic depiction. Symbols are
drawn from animal and plant world. The eyes resemble the shape of lotus petals, the
curving brow-line to that of the arching bow and the ovoidal face is supposed to resemble
an egg.


Further, shoulders and torso are compared with the
domed head of an elephant and the body of a lion
respectively.





The supple hand reminds us of a lotus bud and the portrayal
is definitely not realistic.




Ajanta artist has used a number of techniques to bring out
depth and relief. In addition to the vartana (shading)
techniques and ujjotana (adding-highlights) technique, he has
employed a subtle method called chaaya-tapa (shade-and-
shine). The painting of Padmapani is an example of this
method. called chaaya-tapa (shade-and- shine). One can see a
soft glow on the outline of the body and against the outline of
his crown on the left. The somewhat darker background
enhances the effect of chiaroscuro.
Though shadows emphasis the third dimension most
artists of repute have avoided direct shadows as too
commonplace technique. We see no shadows in this painting,
though relief can be felt, achieved through expert use of colours bluish tinge for the
background.
One can see the masterly handling of blue, lapis lazuli, on the necklace beads and delicately
applied on the fringes of the fresh lotus.
In terms of art style this panel belongs to a period of mannerism, a style that deviates from
classical simplicity. This can be seen in the rich crown, which is somewhat heavily
ornamented.
Limbs like Elephant-trunk
Hand like Rose-bud
CONSORT OF PADMA-PAANI




























To the left of the Bodhi-sattvaa is painted Padma-paanis consort, identified by her holding
a lily in her hand. She is one among the most graceful women of Ajanta. Her face is
serene with an expression of modesty and restrain. The artist has used the ujjotana
technique on the lips and the nose. Here is another example of heroines being shown in
the nude and of being black complexioned.

MITHUNA FIGURES

On the left part of the panel are the Mithuna Figures. The
artist is successful in bringing out tenderness of soft caress.
Use of the animnonnata (flat) technique for providing depth
and relief can be found in the painting. In this style dark
colours are applied for the subjects in the foreground against
a background of lighter shades, or vice versa. Also worth
noticing are the sthaana-s (body-postures) of the two
characters and extraordinary confidence in draughtsmanship.
(A suitable painting to be selected)





DIVINE MUSICIANS
In the left corner are figures of two kinnara-s. A kinnara is mythical being, half- human and
half-bird. One is playing
kachchapa-veena, a kind of lute,
resembling modern day mandolin.
The use of a pluctrum and playing
posture show the continuity of
musical tradition till date.
We come across musicians
and contemporary musical
instruments in the scenes of a
dancing girl with her musicians in
the narration of Mahaa-janaka
Jataka of this cave and in the
painting of Descent of Indra in
Cave 17.
BACKGROUND
There is a female chaawri-bearer wearing a long blue coat, while on the right is a dark
mace-bearer in a long white coat. In the background monkeys are seen frolicking about and
a pair of peacocks shrilling in joy. The careful composition of the main characters
according to the canons is contrasted by the lively background and the warm atmosphere of
the secular scene: the luxuriant foliage of the areca-palms and the ashoka trees, the strong
red squares like pillars and cross-pieces which are a convention for the ridges of hills and
the clear blue of the bird's feathers.
(Provide a line picture,)


TEMPTATIONS OF THE BUDDHA
One among the favourite subject-matters in Buddhist
composition is an episode in which the Buddhist devil, called
Maara, attempts to disturb the Buddha when he was in deep
meditation to attain Enlightenment. The episode is known as
Temptations of the Buddha and also as Maaras Episode. In
this cave it is painted on the left wall of the ante-chamber. The
same episode is sculpted in relief in Cave 26. One is at a loss to
decide who is superior - the master-artist with the brush or the
one with the chisel and hammer. May be the sculptor has a
slight edge over his brother-artist!
The composition is in the classical style, interpreted
with a vigour and liveliness that has few parallel. The painting
occupies the entire wall.

The Episode: Gautama sat under the Bodhi tree in deep meditation in order to attain
enlightenment. Maara, the Evil Spirit, made many attempts to dislodge the Master from
his resolve lest he should achieve the supreme moment and open up the path of salvation
for mankind.
At first he tried to tempt Gautama with power and glory. Gautama withstood
temptations of all kinds. Having failed, Maara, disguised as a messenger falsely told the
would-be Buddha that his wicked cousin Devadatta had rebelled, thrown his father into
prison and seized his wife Yashodara. It was in vain. He then sent his three most beautiful
daughters called Lust, Thirst and Delight to distract the Master from His resolve This
also failed. Thereupon Maara summoned his demons and made a furious and appalling
assault with whirlwind, tempest, flood and earthquake to dislodge Gautama. But
Siddhartha, calm and unmoved, sat under the Bodhi tree. The frustrated Maara then
challenged His right to sit on the spot. The Master called upon the Earth to bear witness
to his right by virtue of his acts in previous existences. The Earth spoke with a voice of
thunder: "I am his witness." Maara, defeated, fled in dismay; and it was in the course of
the succeeding night that Siddhartha passed from the state of being a Bodhi-sattva to
complete and perfect Buddhahood.


The Buddha seated in the vajraasana (adamantine-posture)
in bhoomi-sparsha-mudra (earth-touching-attitude), serene
and calm, is painted in the centre. He is surrounded by a
fantastic variety of monsters and witches.
Around Him there is a group of seven young
damsels with pretty features, graceful poses and soft facial
expressions. They have been sent the devil to distract
Gautama. Also around the Buddha is the army of Maara in
horrible and bizarre array.
The entire scene is of classical proportion and
restraint.

Among the seven damsels around the Buddha are two women
one on either side of the Buddha, who are especially beautiful.
They are apparently two of the three enchanting daughters Of
Maara, Rati (lust), Trishna (thirst) and Arati (delight), who
unsuccessfully tried every means of seduction.
They have been painted in
the mould of the classical beauty of
Ajanta. Their hair-style and
ornaments reflect contemporary
fashion.
In the execution of the characters of
this drama, the artist has exhibited
his skill in the use of highlighting, called ujjotana (adding-
highlights), appearing on the chin, breasts, arms, legs or
wherever an elevation of form was desired.




(Can we add a picture of the Army?)
Contrasting with the damsels we have the characters forming Maaras army, banal and
cruel. The artist has employed deep contrasts in tone in the face to bring out the grotesque
and banal facet of his mission.
(We must add a good description of the Buddha)

BODHI-SATTVA AVALOKITESHVARA PANEL
This is another important panel painted on the rear wall of the main hall right to the
entrance to the shrine. This composition is similar to the Padmapani panel which is painted
on the other side. (Location picture from Schlingloff)
In the centre is the imposing figure of Bodhisattava Avalokiteshvara in full regal
splendour amidst rich surroundings.
On the top left is a couple in conversation. Below this is a royal figure, richly attired,
making an offering of lilies to the Bodhi-sattva.
On the bottom left corner is dark lady, called Shakti Pandara, accepting a flower from her
maid.




BODHI-SATTVA AVALOKITESHVARA
Bodhi-sattva Avalokiteshvara is the most respected Bodhi-sattva in
the Mahayana tradition, and often refered to as sangha-ratna (Jewel of
the Order). The Bodhi-sattva-hood can be identified by the Buddha
emblem on the crest of His crown.
When the two Bodhi-sattva-s on either side of the entrance to
shrine are compared, there are similarities and contrasts. Both strike a
tribhanga pose, but flexed differently. If Padmapani is conspicuous
for his frugal ornaments, Avalokiteshvara wears elaborate jewellery.
In contrast to Bodhi-sattva Padmapani Avalokitesvara is dark.
Some hold that Avalokiteshvara reflects southern customs and
fashions. According to them the dark skin, round face and fuller lips
that were prominent
in the Ajanta
paintings of the pre-
Christian era
reappear in the
Deccani-type ethnic
structure of the
Bodhi-sattva
Avalokiteshvara. On
the other hand the
northern influence is
still predominant in
Bodhi-sattva Padma-
paani, which has
Aryan features and a
fair complexion.
In the
drawing and
colouring the artists
seem to have used
similar techniques as
were used in the
Padma-paani panel.
There is, however, a
greater relief effect in
the drawing of the
Avalokiteshvara.
This may be due to
the larger area of
greenish background
to the figure.




SHAKTI PANDARA
In the bottom-left corner of the panel we have
one of the most beautiful ladies of Ajanta. She is
identified with Shakti Pandara, consort of
Amitabha. She is seen accepting lilies from
another lady or her maid. What strikes one most
is her pair of eyes. Hazel-brown colour of the
pupils and the red spots in the corners of the eyes
radiate an astonishing natural friendliness. Its
fine modelling, exquisite ornamentation,
tranquillity and thoughtfulness are beautifully
brought out by the dark complexion against a lighter background.
Ajanta artist is enigmatic. In the contemporary post-classical style, one would
expect rather elongated eyes, like what one sees in the depiction of Avalokiteshvara, such
perfect eyes is rather unexpected.
Most of the beautiful women of Ajanta are depicted as black beauties and this detail is one
of the examples. Note that Bodhi-sattva Avalokiteshvara depicted in this panel is also of
dark complexion and this was attributed to the southern influence.

ROYAL WORSHIPPER
(Figure to be added) Above the figure of Shakti Pandara and her attendant is a royal
worshipper making an offering of lilies to the Bodhi-sattva.
The same painting and colouring techniques as that for the Bodhi-sattva are used in
the depiction of this worshipper. Though richly attired and enormously bejewelled, his size
and deportment does nothing to reduce the glory of the main figure.
CHAMPEYYA JAATAKA
The Bodhi-sattva was once born as Champeyya, the naaga king. He felt unhappy with his
wasteful life, and attempted to take his life. His wife Sumana helped to revive his interest in
life and was his constant companion. Once he was caught by a cruel Brahmin, who taught
him dancing. The Brahmin made the serpent-king dance before King Ugrasena.
Meanwhile, Sumana, who was searching for her lost husband, finally found her husband in
the court of King Ugrasena entertaining the king with his dance. On her plea the king
released the serpent from captivity. It is then that King Ugrasena came to know that the
snake was none other than Bodhi-sattva born as the naaga king. Bodhi-sattva took King
Ugrasena to the naaga-world, where he gave him a sermon. Later he helped the king to
vanquish his enemies.

The story of Champeyya is painted on the wall of the rear verandah, left
of Bodhi-sattva Avalokiteshvara above the doors of the two cells.






The artist has delineated the story in five scenes, arranged in two rows. The top row depicts
three scenes and the bottom row, two.
In the first scene is painted in extreme left
of the top row. In this we see the Bodhi-sattva,
born as naaga-king Champeyya, sitting on a
throne repenting of his life of pleasures. His
being caught by a brhamin and his suffering at
his hands are not depicted. In this next scene in
which the king watches the snake dance along
with his courtiers is painted in the extreme right
of the top row. While performing the snake-king
suddenly sees his wife and his child at the palace
gate, which is depicted in the middle of the top
row. The part of the story of the king's
recognition of the serpent as the naaga-king and
the reason why he came to such a pitiable state has not been painted in this panel. The
remaining story is painted in the bottom row. In this final scene Champeyya is seen giving
a sermon to Ugrasena and the others.

CHAMPEYYA REPENTS HIS LIFE OF PLEASURES
In this first scene we see Champeyya repents his life
of pleasures. Sumana, his queen is sitting by his side
and is looking up eagerly towards her husband. As
usual, the court dwarf is in attendance, this time
holding a tray of fruits, flowers and cosmetics, but
the way he looks up eagerly at the king shows his concern. There are two more maids-in-
attendance in this scene.

KING UGRASENA WATCHES SNAKE-DANCE

The next scene of King Uggasena watching snake-
charmer's tricks is painted in the extreme right.
The snake-charmer is on the extreme right.
His face is damaged. The serpent is in front of him,
uncoiling out of the basket. King Uggasena, with his
head completely missing, is seen seated on a throne.
The folds of his upper garments are artistically drawn
and as usual the bolster at his back has interesting
motifs on it. With his right hand he has made a gesture. His minister is sitting on his left.
The serpent-king, Champeyya, while performing dances, suddenly sees something,
which makes him stop midway in his dance.
Among the courtiers, who are watching the snake-dance, there are two very interesting
figures, seen at the bottom-left. A typical Brahmin in dress and deportment - the
moustache, and the tuft of hair on the crown of his head of the man on the left and
uppercloth of both the courtiers.
Upper cloth with rich silver brocade with floral patterns on it betrays the origin of the
Banares textile tradition. (The picture will have to be trimmed on the left.)
As may be seen in the other Ajanta compositions, there are no monotonous poses
in this panel also, with people in different sthaana-s, some rather unsual.

APPEARANCE OF SUMANA AND HER CHILD
Between the two panels described above, we have the appearance of Sumana and her child.
A mother with her child is appealing to a doorkeeper for admission to the court. This, in
fact, was the reason why the naaga-king had halted his dance, for he suddenly recognises
them as his own wife and son. (Do we have a picture?)

CHAMPEYYA GIVES A SERMON
In this last scene we come to a royal hall full of
ladies and attendants, where Champeyya gives a
Sermon. The naaga-king, identified by a five
hesded-serpent-hood and King Ugrasena occupy
the centre stage. Ugrasena is seen deep reverence
while the Bodhisattava, now as a naaga-king, is
delivering the sermon, model of love and
compassion. Queen Sumana, with a serpent-hood
over her head, stands on to the left of the
Bodhisattva. Her features are exquisite and her face has a delicate lambent grace.
There are as many as seven maids-in-attendance in different poses and attitudes.
One of the three male figures is our inexorable dwarf. Standing to the left of Ugrasena is a
royal guard dressed in a long silk-coat with flowers interwoven in it and with tight sleeves
and armed with a sword having a jewelled handle. From his exotic cap with a round brim
and peaked top, we may surmise that he is of foreign origin.
This, particularly of the women in the scene, is a great composition, of
draughtsmanship, colouring, shading and expression.

Humour in Ajanta has been referred to earlier. What was mentioned was also their being
depicted unlikely places. Here is another example. Close to the pillar on the right is a male
servant on the point of helping himself to some fruit. Worse is that he was found in the act
by the maid in front of him, the girl appears to be apprehensive of the mischief and
without turning her head is glaring at the thief out of the corner of her eyes.

The scene also illustrates the court-architecture.
QUEEN IN A PALACE SCENE
Cave 1; End of 6th century AD
The mural, commonly known as Queen in a Palace Scene, is painted on the right hand wall
of the main hall. The painting has not yet been identified.
A queen rests on a cushion surrounded by her retinue and converses with the king.
These figures are somewhat disproportionate and are disposed in a mechanical way. They
represent a decline in artistic standards, marked by anatomical distortions. The peculiarities
of the style are the heavy heads, elongated eyes, excessively large mouths, thin legs, and
the superfluous hand gestures. In addition the composition becomes careless and the finish
of the paintings was summary. There is an unmistakable overcrowding in the scene, which
is against the spirit of classicism.
Ajanta artist has adopted simple as well as
sophisticated techniques to bring out depth
and relief. One of them was ujjotana. In
this the addition of highlights appropriately
gives a three dimensional effect. The use of
this technique may be seen in this scene.
Highlights in the form of white patches
may be found on the cheeks, the chin, nose,
etc of the characters.

SOME FOREIGNERS
On the right-hand wall is an unidentified scene depicting Some Foreigners, which is
significant for perhaps this panel, as some hold, is one among the last to be painted by the
Ajanta artist before he abandoned the caves. Their conclusion is based on the style of the
painting.
The detail shown three fair-skinned persons and a dark complexioned person whose
expressive face remains (?). These fair skinned people are most likely foreigners judging
from their features and from the ornaments of the person in the foreground. Persons of
foreign origin are painted in the other caves also.
(Refer only to the person under discussion. Check up the painting in Behl and
comment) The drawing, colouring and the finish look clumsy. The hands and palms are no
more shapely. The magic wrought by the Ajanta artist by the competent use of thick and
thin lines producing soft curves is totally missing
here. The lines are stiff and lifeless.
But Ajanta artist is enigmatic. The artistic
quality of the man in the foreground commented
above is really not quite true for the two persons
painted above him, nor to the expressive dark
complexioned man to his left.
CAVE 2
GENERAL DESCRIPTION
This vihaara has a plan similar plan to that of Cave 1.
The cave has the usual plan, with a verandah, a main hall for
congregation and a shrine. A central door leads into the main hall.
Twelve pillars support the ceiling. Facing the entrance, in the rear of
the hall, there is an antechamber, leading into the shrine. The
vihaara has fourteen cells for the monks to stay.
There is a chapel at each end of the verandah. The facade of these
chapels are carved with figures of the naaga kings (serpent-kings)
and their attendants, the portly gana-s (demigods). A richly carved
doorway flanked by a decorated window on either side, leads to the main congregation
hall.

Main Hall
The hall is about 14.5 meters square and the roof is supported by twelve elaborately
carved massive pillars. At the rear of the hall there is an ante-chamber leading to the
shrine.
The pillars have very minute carvings and are painted all over. In many pillars the
paintings on the bases are still discernible. Rich tapestry of the paintings on the ceiling is
also found. There are ten cells off four corridors.

Shrine
The entrances to the ante-chamber and to the shrine are richly carved. On the frames are
sculpted a number of mithuna-figures, and the lower-most figures on both the sides are
carved majestic gate-keeping yaksha-s. River goddesses, Ganga and Yamuna, are carved
on the top part of the frame.
The main idol is the Buddha in relief in the dharma
chakra pravartana mudra (turning-the-Wheel-of-Religion-
attitude). Two Bodhi-sattva-s are sculpted in relief as
chaawri-bearers.
The painting on the ceiling of this shrine is in a
better state of preservation. The motif of the painting on
the ceiling of the ante-chamber is very interesting.
On either side of the ante-chamber is a chapel, the
entrances to which are adorned with delicately-carved
pillars. The chapel on the right is the Hariti shrine and is
important because of its sculpture.

On the pedestal is an interesting scene of a classroom revealing the Ajanta artist's
sense of humour. Starting from the right we find three sensitive boys engrossed in writing
before a teacher holding a cudgel. The next two boys are boxing. And lastly, a group of
five boys is goading two rams to fight. (Is this a proper palce to mention this scene?)

Mahaa-hamsa Jaataka
There are four scenes depicted in Mahaa-hamsa Jaataka
of Cave 2. The story is painted on the left wall of the
front verandah. The lotus scenes are on either side of the
cell door. The palace scene is above the cell door.



(Location of this composition to be added from
Schlingloff)




On the right side towards the top is the gate to the
place. This is an example to show that the Ajanta artist was
fully conversant with normal perspective. The colouring and
the shading bring out clearly the form, shape and geometry of
the gate and its environs.
Anther example of the use of normal perspective is the
panel Monastery, a scene from Shibi Jaataka of Cave 17.

(Note: This picture, from Madanjit, is to be reversed. There is
also another picture of this jataka, showing a beautiful lotus.
This is again from Madanjit.)

(A Note in general: There are a few compositions of which only a few scenes have been
reproduced in the books. This is one of them. Here the jaataka is not at all described.
Then, shoud we include the jaataka at all? Madanjit Singh has included this to explain
the skill of the Ajanta artist in perspective drafting. Let us discuss.)
BIRTH OF THE BUDDHA

Scenes depicting the Nativity of the Buddha have
been painted along the left wall of the hall above the
lintel and also along the sides of the 1st and 2nd cell
doors. (Line diagramme to be added)
Some of the scenes are damaged.





The scenes depicted as below.
(1) The Future Buddha was living in Tushita heaven. The gods requested
Him to be born as the Buddha. He consented.
(2) During the mid-summer festival Queen Mahaa-maaya, queen of King
Suddhodana of Kapila-vastu, had a dream. In this dream she saw a
white elephant entering her womb through her right side. (This scene
is badly damaged, and barely discernable.)
(3) She related this dream to her husband, who consulted revered
Brahmins to interpret the dream. They said that the queen has
conceived a male child, who would either become a Universal
Monarch or become the Buddha.
(4) While proceeding to the residence of her parents for confinement, in
the beautiful Lumbini grove of shaala trees she gave birth to a son.
Brahma, Indra and other gods descended on to the grove to pay their
respects to the newborn. 'The Baby looked around in all directions,
and strode forward seven paces, followed by Mahaa-Brahma, holding
over him a white umbrella'.

FUTURE BUDDHA IN TUSHITA HEAVEN
In narration of the Nativity of the Buddha, the first
scene is enacted in the Tushita heaven, and painted
above the second cell-door.
Seated in pralamba (sitting-with-legs-hanging) pose
hands striking dharma chakra pravartana mudra
(teaching-attitude), He is surrounded by other deities
and is making the announcement that He will be
descending to the earth to be born to Queen Mahaa-
maaya.
The portrayal of the Master is not one of the best in Ajanta. The direct frontal pose
without any inclination of the head is a rare feature in Ajanta art. Further the treatment of
the whole composition lacks imagination and creativity. On the other hand the other
scenes in the narrative are not marred by this deficiency. Ajanta artist is enigmatic!

KING CONSULTS THE ASTROLOGER
This scene in which
the King listens to
the interpretation of
the dream by a
Brahmin called
Asita, is painted
between the front
pilaster and the third
cell door.
The royal couple, Suddhodana and
Mahaa-maaya are seated on two thrones and
Asita, the astrologer, squats in front of them. His long twisted moustache is prominent.
He is telling them that the queen has conceived a son destined to become either a
universal monarch or a universal teacher.
There are three female attendants at the back of the throne, the one on the extreme
left being a chaawri-bearer. Each attendant is in different posture.
To the right of the scene in which the king consults an astrologer, we find
the figure of Queen Mahaa-maaya musing over the prediction.
Her pose is typical pose found in even today and is seen in many
sculptures. Worry is writ on her face. Two attendants look at her
anxiously.
Maya Devi is scantily dressed, but her hair-dress is elaborate with
floral decorations and bejewelled fitting her royal position. We come
across with this paradox of scant dress and rich ornaments with many
heroines of Ajanta. It may be pointed out, in keeping with the Ajanta art
tradition, the maids are fully clothed. Further, her legs resemble the trunk
of banana-tree, following the established canons of the time.
This is another instance of placing a pillar to separate scenes.

BIRTH OF THE BUDDHA
The birth of the Buddha is the next scene, painted on
the space above the third and fourth cell-doors. The
holy birth takes place in the Lumbini Grove.
We see Queen Mahaa-maaya standing holding
on to a branch of a shaala tree. In front of the queen
are Brahma who holds a white umbrella. To his right is
Indra respectfully holding the baby. By the side stands
a chaawri-bearer showing great excitement. There are
a few more figures in the group.

The next scene in which the Holy Baby strides forward seven paces is badly damaged.
VOTARIES WITH OFFERINGS
Cave 2; 4th century AD
On the left wall of the Hariti shrine are two excellent
paintings belonging to the classical period. The panels depict
votaries on their way to a shrine. The background, of rocks,
banana trees and creepers, is natural and soothing. Calm,
unobtrusive modelling and gentle, swaying movement of the
characters bear the stamp of the classical period.
The ladies are showed in a three-fourth profile,
avoiding strict profile and complete frontality. Some of them
are engage in small talks as seen from their heads elegantly
towards their companions. Expert draughtsmanship is
evident from the slightly elongated figures. Curves are
gentle, accentuating their femininity, without being vulgar. A
wash technique, called airika, one among the methods of
creating an illution of depth called vartana, is employed here
with great effect.
Decide how we include these panels. We may have a general discussion common to all
these, and explain the specifics against each under the pictures. Then all the four pictures
can be on the same page, and the explanation
on another page opposite to it.
Two other compositions that arrest our
attention painted in the same shrine, and that
belong to the same period, are Children plaing
with Hen (Behl 127)and Child trying to
snatch a Toy. Both these scenes are examples
of the way the Ajanta handled with great
interest incidents from day to day life of
common people.

MIRACLE OF SHRAAVASTI - 1

Shraavasti was the capital the ancient kingdom of Koshala
and is identified with the present day villages Saheth and
Maheth the former in the district of Gonda and the later in
the district of Bahraich, both in the state of Uttar Pradesh.
It is one of the eight holy places of the Buddhists.
It is here that the Buddha displayed His miraculous
powers by multiplying himself thousand-fold to the
bewilderment of His critics. This miracle is painted on the
left-hand wall of the ante-chamber of the shrine and also
elsewhere also in Ajanta.
There are excellent portrayals of the compassionate
Buddha in Ajanta. But, not all the painters reached the
mark of high artistry as can be seen in this painting. This
painting demonstrates that conventionalism and
mechanical representation rather than artistry inspired the scene. The paintings lack the
vigour, imagination and delicacy of the earlier ones.
Trying to impart some artistic interest in the panel they took care to vary Buddha's
postures and mudra-s. The painters also introduced an element of colourfulness by
painting the robes of Buddha in different colours ranging from white, grey, brown, green
and red.
This painting may be considered as a part the continuous decline in standard at
Ajanta.
MIRACLE OF SHRAAVASTI - 2
Unlike the multiple images the Buddha painted on the
left-hand wall of the ante-chamber of the shrine the
images of the Buddha, painted on the right and left
walls of the shrine, is of considerable sophistication.
This composition avoids the monotony of repetitive
images of the Buddha witnessed in the previous
depiction. This has been done by varying slightly the
postures, particularly by turning some of the faces
slightly, alternating the mudra-s and finally by the
expert use of ujjotana (adding-highlights)
technique. To add to the effect the artist has provided
the bolsters with a variety of designs on them.
MIRACLE OF SHRAAVASTI - 2
Unlike the multiple images the Buddha painted on the
left-hand wall of the ante-chamber of the shrine the
images of the Buddha, painted on the right and left
walls of the shrine, is of considerable sophistication.
This composition avoids the monotony of repetitive
images of the Buddha witnessed in the previous
depiction. This has been done by varying slightly the
postures, particularly by turning some of the faces
slightly, alternating the mudra-s and finally by the
expert use of ujjotana (adding-highlights)
technique. To add to the effect the artist has provided
the bolsters with a variety of designs on them.

Vidhura-pandita Jaataka
The Story: (Only that part of the story that is shown bold is narrated on he walls here.)
Bodhi-sattva was born as Vidhura-pandita in Indra-prastha and became a minister under a
Kuru king, Dhananjaya. He was universally admired for his wisdom. Once he delivered a
sermon in the court of king of the naaga-s, who presented him with a costly piece of
jewellery.
This was not to the liking of his queen, Vimala. She wanted Vidhura-pandita killed.
The distraught king proclaimed that he would give his beautiful daughter Irandati in
marriage to anyone who would perform this task.
Once Punyaka, a yaksha general, heard the sweet song of Irandati, and fell in
love with her. He promised to get the heart of Vidhura-pandita. He was aware of
King Dhananjayas weakness for the game of dice and enticed him to a game. In the
ensuing game Punyaka won from the king Vidhura-pandita as a wager.
On the way to the naaga world Punyaka made a number of unsuccessful attempt in
killing Vidhura-pandita. Finally, Vidhura-pandita volunteered to tell him the way to get his
heart. Punyaka, taken aback at his generosity, brought Vidhura-pandita alive to the court of
King Varuna. Both Varuna and his queen were enchanted by Vidhura-panditas
wisdom and made him to stay as their guest for a few days before returning to the
Kuru kingdom.
------------------------------------
(Position to be given) This jaataka tale is painted on the right wall of the hall, above and
between the second and third cell doors. This is one of the surviving paintings where
sufficient portions are discernible to enable us to study art of this period.

THE AGE OF MANNERISM
From the composition it may be taken to belong to the period of mannerism, an
intervening period between the classical harmony and baroque ornamentation. The
paintings of Votaries in this cave represent classicism of Ajanta and Mahajanaka Jaataka
composition of Cave 1 belongs to the baroque style. Interestingly certain aspects of the
composition resemble the pre-classical style. Thus in terms of art style this is really
unique.
Men and women wear simple clothes, and are not heavily ornamented. The men are still
manly and the women are not exaggeratedly feminine. These are classical features. But
the scenes are rather crowded with people. That the narration takes place 'in a maze of
pillars of royal pavilions, palace windows, porches and balconies' betrays its deviation
from the classical idyllic landscape.
One can see certain amount of monotony in the scenes, in the postures of the
characters. For example the cross-legged sitting posture of Vidhura-pandita in most of the
scenes is same and repetitive.
For postures, expressions and movements characteristic of this period, it is
difficult to match the episodes of the Vidhura-pandita Jaataka.
Mention was made about the Ajanta artist's knowledge of perspectives, and his
employing both the normal perspective and the reverse perspective. Certain scenes in the
narration are depicted in the reverse perspective.

Description of the Scene

(The explanation may be on the basis of numbers given for each scene):

In the first act the arrival of Punyaka is depicted. There are three scenes in this act. In the
first scene Irandati is on a swing, in the next she meets Punyaka, the yaksha general, and
the last is a palace scene, where Punyaka's offer to marry Irandati is discussed by the
royal family.
Next (II) we witness Queen Vimala and Princess Irandati having an intimate conversation
regarding the marriage. This is painted above the third cell door.
After the marriage Punyaka sets out to kill Vidhura-pandita and to bring back his heart.
Punyaka knows King Dhananjaya's weakness for gambling.
Left to the second cell door and above it we see four main scenes of Act III, each
enclosed in a pavilion. The remaining story is narrated in these pavilions.
On the left side of the top left panel we have a game of dice being played in
which King Dhananjaya loses his minister in wager.
In the next scene the distraught king seeks advice from Vidhuarpandita whether
the rules of the game permits him to keep a minister as a wager, and the wise minister
telling him that it was legally tenable.
Before leaving for the naaga-kingdom with his new master, Vidhura-pandita
gives a Farewell Sermon in the court of King Dhananjaya. This scene is depicted to the
right of the scene of Vidhura-pandita counselling his king. Between the two scenes is
I
II III
IV
V
Does not
belong to
this jaataka
shown a balcony in which the queen is talking to a maid, perhaps telling her to request
Vidhura-pandita to give a sermon before leaving.

Below this is a long panel depicting the departure of Vidhura-pandita. (IV)
According to the story, Punyaka takes the minister on his flying horse and- flies towards
the naaga-loka (serpent-kingdom). On the way he attempts to kill Vidhura-pandita to
take out his heart, but fails. It is then that the compassionate Vidhura-pandita explains to
him how he may be killed and his heart taken out. Ashamed of his proposed evil act
Punyaka brings Vidhura-pandita alive to the naaga court. These scenes are not depicted.
The last scene (V) is enacted in the kingdom of the naaga-s. This episode, painted to the
right of the scene depicting the game of dice shows Vidhura-pandita in the Naga
Kingdom preaching before an assemblage of naaga-s, headed by King Varuna himself.
To the right of this scene and below the balcony is a window through which we
see a couple. Some identify them as Vidhura-pandita, holding a lotus in his hand, and
Queen Vimala.
==========================

ACT I
PUNYAKA'S ARRIVAL
We must remember that the painting sequence in Ajanta does not follow a chronological
order.
In the first scene Irandati is sitting on a swing and
singing carefree. Atrracted by the sweet song
Punyaka, the yaksha general, flying on his
heavenly horse alights and meets Irandati, which
is depicted on the left of the previous scene. In
this Punyaka proposes to marry the princess, and
the matter is considered by the royal family. This
is painted in the right.

IRANDATI ON A SWING

Irandati is shown on a swing
singing in her sweet voice
care-free. This is one of the
most beautiful compositions
of Ajanta.
The movement of the swing
is aptly conveyed by the
curves of the ropes and the
streaming flags attached to
the swing. The outstretched
leg of the girl with toes
brought together is a realistic
rendering of a pendulum-like
movement. The background
is embellished with floral
designs.

The swing plays an important role in Indian cultural and social life, and had been extolled
as romantic in Indian literature.




IRANDATI MEETS PUNYAKA
This scene painted to the left of the Irandati on a swing separated
by a pillar following the Ajanta convention.
Punyaka, a yaksha general, who was
flying on the back of a winged horse,
hears Irandati who was singing in her
sweet voice while on a swing and is
attracted by it. Coming down he
introduces himself.
In this scene she is standing and
leaning against a post, talking to
Punyaka. Obviously Punyaka has
proposed marriage to the princess.
Punyakas horse is by his right side.
The standing postures of bashful
Irandati and that of Punyaka,
expression on the face of the loving
couple are masterly compositions.
The use of suitable shading techniques to bring out relief is
another aspect o be noticed.




KING VARUNA'S PALACE SCENE

Now the action shifts to the palace, depicted on the
other side of the swing, again separated by pillars.
In this palace scene, we find King Varuna
seated along with his son on a slightly raised platform
talking to his wife and his daughter on the proposal of
marriage.
The king and his son have serpent-hoods over
their heads indicative of their naaga royalty. The son is
in a contemplative mood. Irandati is talking as can be
seen from her hand gestures. Her mother behind her is
watching the proceedings with concern where as the
maids in the foreground on this composition have
anxiety writ on their face.
The rich hair-
dresses of the characters
and the textiles in this
scene, particularly the cloth
on the bolster, would
provide us information for
the study of the textile
design of the day.

QUEEN VIMALA AND PRINCESS IRANDATI
Next we witness Queen Vimala and
Princess Irandati having an intimate conversation regarding the marriage. This is painted
above the third cell door to the right of the scene Vidhura-pandita giving Sermon.

The conversation takes place on a balcony. The princess looks coy and abashed, and the
mother, we find from her gestures, is giving her some advice and, perhaps, assurance.
ENTICING TO A GAME OF DICE AND THE GAME

Left to the second cell door and above it we see four main scenes, each enclosed in a
pavilion, depicting the remaining episodes. But there is no chronological order in these
scenes.



On the left side of the top left panel we have the scene called Game of Dice. In this we
see Punyaka enticing Dhananjaya to a game of dice and, to its right, the game being
played.

On the left we see Punyaka showing a magnificent jewel as a wager to tempt King
Dhananjaya to a game. The king is occupying a low seat the cloth covering the seat is
striped. He has made some gesture with his right hand whereas his left hand is resting on
the left knee. Vidhura-pandita, sitting left to the king, is looking at Punyaka with concern.
Below the king on his right is a servant, whose long coat with tight sleeves is noteworthy.
Such a dress would be seen in Mahaa-hamsa Jaataka in this cave and in the scene the
Conversion of Nanda in Cave 1. In front of the servant, below the king, there are two
more royal attendants, one male and the other female, the latter with the back to us. Both
of them are in great animation.

To the right, King Dhananjaya and Punyaka are seen engaged in a game of dice. The king
is seen on the left and Punyaka on the right with the game-board between them. The king
is at the point of throwing the dice. Punyaka is serious and anxiously waiting for the dice
to show up. The queen, painted below the king, is appealing to Punyaka, perhaps to stop
the dangerous game.
The king loses the game, and, thus, his minister.
Ajanta artist has employed both normal and reverse perspectives in his composition of
scenes. He has adopted the technique of reverse perspective to draw the board of dice in
minute detail showing clearly all the twenty-four divisions in two rows. The three dice
are lying at the end of the king's outstretched hand. Such detail would not have been
possible if normal perspective was followed. We have seen another example of this
technique of reverse perspective in the building behind the dancer in Mahaa-janaka
Jaataka in Cave 1.

VIDHURA-PANDITA COUNSELS DHANANJAYA
In the next scene, Vidhura-pandita counsels Dhananjaya, and this scene is painted below
the Game of Dice.

In this we see King
Dhananjaya and his
minister in conversation.
The king rather hopes that
the rules of the game will
not allow him to wager his
minister. But the truthful
minister Vidhura-pandita
counsels Dhananjaya that a
minister is a legal wager,
and thus he had now
become the property of
Punyaka.
The scene has been
somewhat damaged and
hence the rest of the figures
in this scene are not clearly seen.
VIDHURA-PANDITA GIVES A FAREWELL SERMON

Before leaving for the naaga-
kingdom with his new master,
Vidhura-pandita gives a farewell
sermon in the court of King
Dhananjaya. This scene is
depicted to the right of the scene
of Vidhura-pandita counselling
his king. Between the two scenes
is shown a balcony in which the
queen is talking to a maid,
perhaps telling her to request
Vidhura-pandita to give a sermon
before leaving.
This is a masterly composition.
Vidhura-pandita, whose divinity
is evident from the lotus held in
the hand, is exuding love and
compassion. The king is shown in rapt attention. Three maidens behind Vidhura-pandita
are mourning over the departure of the saintly person.
VIDHURA-PANDITA'S DEPARTURE
A large panel depicting the departure of Vidhura-pandita, is painted on the bottom part of
the space between the second and third cell doors.
Vidhura-pandita, fitting to his stature, is riding
on a caparisoned elephant. A host people,
solders and commoners, are riding on horses
or walking along. People are in great
animation, trotting of majestic horses in
various hues, stately gait of elephants, people
depicted in variety of postures (sthaana-s) and
their varied weapons are drawn with great skill. A similar in composition to this
marching can be seen in a scene in the Simhala Avadaana panel in Cave 17.

Later story (Not depicted): According to the story, Punyaka takes the minister on his
flying horse and flies towards the naaga-loka (serpent-kingdom). On the way he attempts
to kill Vidhura-pandita to take out his heart, but fails. It is then that the compassionate
Vidhura-pandita explains to him how he may be killed and his heart taken out. Ashamed
of his proposed evil act Punyaka brings Vidhura-pandita alive to the naaga court. This
part of the story is not shown.
VIDHURA-PANDITA IN THE NAGA KINGDOM
The last scene is enacted in the kingdom of the naaga-s. This episode is painted to the
right of the scene of Game of Dice, to of the third cell door. This shows Vidhura-pandita
in the Naga Kingdom preaching before an assemblage of naaga-s, headed by King
Varuna himself.
The teacher has taken the central position.
He is seen seated on a low stool, interlaced with tape. He has a tilak (decorative mark) on
the forehead.
In front of the revered guest is the naaga-king with folded hands bowing his head
in supplication. The halo of five serpents makes his identification easier. Besides the king
we see two ladies, evidently Queen Vimala and Princess Irandati, listening to the sermon.
They do not have their hoods now. Behind the preacher is Punyaka.
VIDHURA-PANDITA AND QUEEN VIMALA

The balcony scene to the right of this has already been described as Queen Vimala and
Princess Irandati. Below this balcony is a window through which we see a couple.
Some identify them as Vidhura-pandita, holding a lotus in his hand, and Queen Vimala.


Ceiling Paintings
Cave 2
This cave abounds in decorative designs painted on pillars, pilasters, ceilings, and for that
matter, on every available surface. This cave contains the best decorations on the ceilings.
The best preserved of the ceiling paintings are in the sanctum.

Squares and Circles: The compositions of these ceiling paintings are, like in the other
caves, of two major types. One is a square containing a number of concentric circular
bands around a central lotus-design, with the four corners - called spandrels - embellished
with mithuna-s (couples), birds or mythical beings. The circular bands, in turn, are filled
with wreath of flowers. This kind is referred to as Squares and Circles in the present
discussion.

Squares and Rectangles: The other is filling up the space with squares and rectangles, in
which are painted various motifs. These are being referred to as Squares and Rectangles
in the discussion.
Fruits, birds, animals and pure geometric patterns are the motifs used in the
above. The fruits, which have been depicted, are fruits, mangoes, pineapples, pears,
grapes, berries, lichies, etc. We have birds like, geese, ducks, cranes, peacocks, parrots,
etc. There are also mythical animals of a wide variety.

Humorous Scenes: In lighter vein we have sportive figures, like, dwarfs, buffoons,
jugglers, foreigners in exotic garments, etc. And, finally, there are pure geometric
patterns.

Apart from the colour harmony and delicacy of the designs, even a casual observer
cannot miss movement and plasticity of forms.
SQUARES AND CIRCLE - 1
The central circle contains a large, white and serene lotus, symbolising purity. The ring
around it is a wreath. The one next is of some geometrical pattern. Filling up the spandrel
are four flying gandharva-s, which
arrest our attention. Bare-bodied and
clad only in loincloth, these
gandharva-s are in a playful mood.
Their flight is unmistakable. The
cumulous cloud behind and the
fluttering ends of their garments point
to this. Two of them are wearing
socks.
Binduja is a technique of vartana, a
family of shading techniques adopted
by the Ajanta artist to effect an illusion
of depth and relief. This method, also
known as dot-and-stipple-method,
uses variation in the concentration of dot to produce the desired effect. This can be seen on
the belly, chin and in the arms of the flying gandharva-s, bringing out the contours of their
body.
SQUARES AND CIRCLE - 2

On the ceiling of the ante-chamber we have in the
ceiling painting portraiture of a row of geese in a ring.
It is a superb rendering. About this Yazdani comments:
Some (of these ducks) have their necks sharply
curved, as if they were in an angry mood, some have
stretched their necks forward to show their
determination to attack, some have bent them low to
preen their feathers in an attitude of langour, some
have turned their heads gracefully to one side to look
amorously at their mates, and some have turned them
with a romantic curve to show their feeling of ecstasy.
The fine brush work of the artist in the delineation of
the features of the birds also deserve a close study. The
subject, both with regard to the ingenuity of design and
perfection of technique plainly shows the skill of the Ajanta artist in decorative art.
But Narayan Sanyal points out one feature not mentioned by the others. The
number of geese in the composition is twenty-three, an inconvenient prime number,
precluding the possibility of using stencil!
SQUARES AND CIRCLES - 3


Painted outside the antechamber is another beautiful
Ceiling painting.
Exquisite geometrical and floral patters fill the circular
bands. Mithuna-s are painted in the spandrels. In spite of
the restricted space the couples do not feel cramped as can
be seen in the detail.




Squares and Circles 4


Here are some more examples.
SQUARES AND RECTANGLES
Like in Cave 1, the ceiling decoration consists also of
filling up the space with squares and rectangles.
Belonging to this mode of decoration is a part of the
ceiling painting in the rear aisle. The geese and the
mythical birds, the floral patterns are remarkable. Skilful
shading has given the pure geometrical patters a three
dimensional effect.
INEBRIATED FOREIGNERS
The ceiling contains some scenes in
lighter vein. A detail from the painting
on the ceiling of the veranda shows
two foreigners drinking. From their
dress, they look foreigners. But their
dress is very interesting head-dress,
scarves, tunics and the socks.
The intriguing aspect of this detail as
well as, similar paintings in Ajanta is
the inappropriateness of such drinking
scenes in a religious shrine.

CAVE SIX

This cave is the only two-storied cave in
Ajanta, whereas at Ellora one may find
quite a few. This cave belongs to the 5th-
6th centuries AD. The doorway is lavishly
carved and the lower floor main hall has
sixteen simple pillars without capitals. The
shrine, approached through an ante-
chamber, houses an image of the Buddha
sitting on a lion throne.

To the right of the entrance is the staircase to reach the upper floor. The main hall
of the upper floor has twelve pillars and two chapels on the either side. An impressive
figure of the Buddha is carved in the shrine approachable through an ante-chamber. The
deity is attended by flying apsara-s and attendants.
Like all the other caves the walls of the ground and upper floors must have been
painted, of which very little remains.

Ground Floor
First Floor
BHIKSHU WITH LOTUS
On each side-wall of the ante-chamber in the first floor are
elaborately sculpted images of the Buddha. The painting on all of
them had vanished like in the other sculptures in Ajanta. But traces
of the same can be noticed here and there. The main image is the
Buddha in the Niche. At His feet is painted the Bhikshu holding a
lotus.
Here is an example of proper balance between sculpture
and painting, a special feature of Indian art.







The bhikshu is kneeling before the image of the Buddha.
On the left-hand he is holding aloft a bunch of three lotuses
and a metal incense burner on his right-hand. The three
lotuses perhaps signify the three jewels (tri-ratna), the
Buddha, the Order and the Law. The kneeling posture and
his expression on the face amply portray devotion,
dedication and humility. (Shall we understand what tri
ratnas are?)
Ajanta artist has employed a number of techniques in the
drawing of outlines. While adopting airika method of
vartana (shading) the outlines is a part of the shading.
Elsewhere he has used thick or thin lines. This figure is
drawn in a firm black outline. It is significant that the artist
has employed only two tones for the figure, apart from the
background. May be he wanted the painting to be unobtrusive in the composition that
includes a sculpture of the Master.

A Devotee with Lotus is a similar painting from Cave 2, belonging to the same period. (I
think there is a painting in Madanjit Singh. Shall we check?)

06-02 - MIRACLE OF SHRAAVASTI
The miracle performed by the Buddha at Shraavasti to baffle his critic is depicted may be
seen on the right-hand wall of the chapel in the front corridor of the upper storey. This
miracle is depicted in Cave 2 also.
In this panel is shown the Buddha in the teaching
attitude. Around Him are painted a number of
Buddha figures. Some are in the padmaasana
posture of sitting, on a double lotus seat, like the
central figure. Some of the Buddha figures are
painted in the standing fashion. The poses of the
Buddha figures as well as the devotees shown on the
bottom to the right of the panel are drawn with self-
assured mastery of sweeping lines.
The pose of the nun, one of the devotees shown, is
unique, and has no parallel in Ajanta. The right-hand
strikes a pose, anticipating the pose of classical
dancers of the later periods.
This composition in general, and the composition of
the nun in particular, is another example of expert
draftsmanship of Ajanta artist, of his extraordinary
ease and confidence in drawing lines and his
excellent sense of proportion.

CAVE NINE
This cave is one of the earliest chaitya-s excavated and is assigned to
the 1st century, BC. Its faade is beautifully decorated with
bermrailing, chaitya-window and lattice frame. This along with the
large Buddha statues on the sides are most likely later additions of
the 5
th
6
th
centuries.
The plan of this temple is rectangular; it is 13.5 metres long, 7
metres wide and about 7 metres high. The adjoining Cave 10,
perhaps the next one to be excavated, is apsidal in plan. It has
twenty-one octagonal pillars that are about 3 meters high. The
interior dimensions of the cave are 13.5 meters long, 7 meters wide
and 7 meters high.
The stoopa carved at the end of the hall has a dome one-
meter high above a cylindrical base and it is crowned by a square
capital representing the reliquary, receptacle for relics.
The chaitya contains paintings of different periods. Some of these belong to the
1st century BC, while others are assigned to a period as late as the 4th-5th centuries, AD.
Unfortunately, all the paintings belonging to the earlier period are damaged beyond
recognition. Copies made by the early painters help us appreciate them. A group of
votaries approaching a stoopa painted on the left wall is one such representative of this
era.
A painting of a Kneeling Ascetic is included as an example of the 5th century AD
painting and also to show one among the variety of hairstyles painted in Ajanta. (Check
up this picture)

09-01-A GROUP OF VOTARIES APPROACHING A STOOPA
This cave is one among the caves excavated in the pre-Christian era. The walls must have
been decorated in the manner of the period narration done in the form of ribbon-like
composition. But none remains. Even the few reproductions made by Griffiths in the 19
th

century were lost in fire. Reproduced is a sketch of this composition to give an idea of the
lost treasure.
The scene shows a number
of devotees approaching a
stoopa. Their dress is
noteworthy. Characters in
the scene in the next cave,
namely Cave 10, and also
in the relief sculptures of
stoopa-s in Sanchi (in
Madhya Pradesh) and in
Barhut belong to the same
period and their dress
closely resemble that found
in this painting. The elaborate head gear is typical with protrusion over the forehead. In
terms of grouping the figures there is similarity with the other compositions mentioned
above. The monotony in the poses of the devotees, depicting them all in the three-fourth
profile, is again a common feature on the period.
On the right is
depicted a stoopa
enclosed within walls
and a group of
buildings to its right
and a few devotees
beyond. The stoopa
has two entrances, the
one on the left with
barrel-shaped roof,
and the other on the right is very much like the gates one finds of the Sanchi stoopa-s.
The stoopa proper is hemispherical festooned with a number of umbrellas. Also shown
are trees, most likely peepal, sacred to the Buddhists. The buildings shown beyond may
be taken to represent contemporary architecture.
(The two figure are to be joined and used in the form of centre-spread.)
09-02-KNEELING ASCETIC
5th century AD
(To be edited)
From the paintings of Ajanta one can get a fairly good account of the life style of people
of the period. This composition of a Kneeling Ascetic is included as an example of the
style of painting during the 5th century AD painting and also to show one among the
variety of hairstyles painted in Ajanta.
This is a painting done over the pre-Christian era painting. It depicts an ascetic at
his prayers. The posture of kneeling, his hands of prayer and, finally, the matted hair, all
these very similar to the present day practice.
CAVE TEN

This chaitya is the oldest cave excavated in the Ajanta
complex and is dated to the first half of the 2nd century BC
according to an inscription here.
This beautiful chaitya measures about 30 metres
long, 12 metres wide and about 11 metres high. When one
enters he steps into the nave, the main hall of the chaitya,
rectangular in the front with a semi-circular rear. At the
centre of the semi-circular part is a stoopa. The roof is
barrel-shaped. There are 39 pillars which divides the hall
from the aisle. Interestingly, the pillars are slanting inwards.
This feature as well as others like, the rafter-like projections
on the ceiling, perhaps imitates wooden contemporary
wooden architecture.
The chaitya, like Cave 9, contains paintings of
different periods.
We are fortunate that there are traces of surviving
paintings, like, the Raja with his Retinue, to give us an idea
of the pre-Christian era paintings at Ajanta.
This painting is important in the history of Indian
paintings, for this is the earliest among the surviving
paintings. We have also some excellent line sketches of
Shad-danta Jaataka and Shyama Jaataka. Both these examples are impressive for their
dynamic modelling and story-telling.
A painting depicting Two Figures of the Buddha is an example of the painting
belonging to the period of artistic decline at Ajanta.
RAJA WITH HIS RETINUE
2nd or 1st century BC
Raja with his Retinue, painted on the rear side of the left aisle, is the only discernable
surviving painting of the pre-Christian era. It affords us to learn about the art style of the
period. We can get a glimpse of the fashion of the day, of the royalty, of the court and of
the common people.
This painting, like those belonging to the pre-Christian era paintings of Ajanta, is
painted longitudinally in narrow horizontal panels, maintaining the same tonal level. The
scenes unfolding on a ribbon-like space on the walls are not subdivided as in the later
period except for an occasional tree, or a building or a group of rocks, which vaguely
defines the end of one scene and the beginning of another.
In this composition a peepal tree in the middle defines the two scenes, on the left shown a
Raja with his retinue going towards a temple and on the right common folk, dancing and
singind, approaching the same temple from the right.

On the left part of the
composition the Raja is
seen accompanied by a
number of ladies and a
child. They are approaching
the Bodhi tree decorated
with banners. That an
umbrella held over his head
marks him as a king. The
Raja has a band of jewelry
round his topknot of hair,
which is arranged like the
hood of a serpent. This was
emblematic of his mythical
descent from a serpent-king.
The women, nearly naked from the waist upward, are wearing simple ornaments
comprising earrings, necklaces, armlets and bangles. Especially notable are the ivory
bangles and those made of conch-shell, which cover almost the entire forearm. These are
still in fashion among the Lambadi tribes in this area. On their foreheads a few ladies
sport the tilak, circular colour-marks, such as Indian women still wear today. This
practice is only infrequently found on the walls of Ajanta.
The women's hairstyles vary from the highly elaborate to the quite simple.
Another notable feature of the dress of this period is the veil over the women's
head. In the later period these are conspicuously absent.
Their round faces with small bright eyes, short pointed noses, narrow mouths and
full lips are southern features. These features completely disappeared for quite some time,
and reappeared possibly in the second half of the 5th century AD.
On the other side of the
Bodhi tree is painted a group
of dancers and musicians.
Bare to the waist, these
women appear to be a party
of common people. Two of
them have long trumpets and
the rest are clapping their
hands or dancing. The
elegance of these figures
conveys an atmosphere of
carefree, uninhibited joy.


Because of the fortunate survival of this painting belonging to the early period, we are
able to attempt a comparison between this style and that later.
We may notice that very limited colours are employed in this painting, red ochre,
yellow ochre, terra verde, lampblack and lime white, resulting in a limited range from
dark brown to burnt sienna. On the other hand the later painters had access to far more
number of pigments. Here an attempt to provide depth and relief is seen in the slight
variation in tones, though the number of colours used is limited, which came to be
perfected as a vartana (shading) technique called airika later.
Unlike in the
later period where a
very large variety of
body positions
(sthaana-s) are used,
one can notice that most
of personages in this
painting are in the
three-fourth profile, and
such monotonous
depiction totally shunned later.
The scene resembles the one depicted in Cave 9 of a group of devotees going to a
temple. Both belong to the same period, and as mentioned then, draftsmanship is closely
related to the contemporary sculpture at the Buddhist stoopa of Sanchi.
Scenes featuring dancers are painted in the later period. A comparison of the
dancer of this scene with the dancer in the court of Mahaa-janaka in Cave 1 is worth
doing. The uninhibited joy of the dancer in this scene and the amateur accompanists in
this scene is in contrast with the stylistic dancer of painted five hundred years later with
her tailored dress and sophisticated ornaments and her well-trained orchestra.
Drawn in long, bold and vigorous curves with great precision, in a line of
unvarying thickness, these representations speak of the artist's dexterity of drawing and
expression even in the early period. Later, it matured into a great artist expression.
The veil over the womens head, costumes and jewellery depict the contemporary
fashion.














SHAD-DANTA JAATAKA
The jaataka is the story of Bodhi-sattva born as an elephant-king, called Shad-danta (shat
= six, danta = tusked) with six tusks. One of his two wives, Chulla-subhadda, became
angry with him as she felt that he neglected her in preference to the other queen, Mahaa-
subabhadda. She, in the next birth was born as the Queen of Varanasi. She commanded
that be produced before her to quench her vengeance. But when the tusks were actually
brought before her after the king-elephant volunteered to be slaughtered for the purpose,
she breaks down and repents.
The story is painted on the back wall of the right-hand aisle behind pillars two to twelve.
This painting, like those belonging to the pre-Christian era, is painted longitudinally in
narrow horizontal panels. The scenes unfolding on a ribbon-like space on the walls and
the scenes are divided into frames.
It is an excellent picture, full of love for life and nature, in which the artist has
made full use of his proficiency in the drawing of animals. The figures reflect great
plasticity of form mingled with artistic elegance and grace. The elegance of the figures
and facial expressions reflect the late Sanchi sculpture, features met with all the paintings
belonging top this period in this cave and in Cave 9.
A line-drawing is the only survivor of this masterpiece on the Hinaayana period.

Narration of the same jaataka is seen in Cave 17 also. A comparison between the two
separated by a time difference of 600 years brings out both the continuity and the
variation in the artistic styles over this period. That the later paintings were not restricted
to a narrow longitudinal panel, but spread all over the wall is an example of change that
has taken place. But confident draftsmanship and not dividing scenes into frames are
some of the features which bear testimony to the continuity in the tradition.

The story is not told in a strict chronological order. This feature we find in the paintings
belonging to the early as well as the later periods. The narration of this jaataka flows
along the following lines:

1. Shad-danta's Life in his favourite Resort under a Banyan Tree: A herd of
elephants disporting themselves in the jungle amidst lotus flowers, ashoka and banyan
trees, among them being the white, six-tusked elephant. The body of this elephant is
dotted all over with small brown spots.
2. Shad-danta seen surrounded by six elephants: The Bodhi-sattva now playfully
holds a huge lotus in his trunk that he perhaps offers to Mahaa-subhadda that in turn
enrages Chulla-subhadda.
3. Subhadda, Queen of Varanasi, feigns Illness and directs Sonuttara to kill Shad-
danta: The queen of Varanasi (who was Chulla-subhadda in her previous birth) is seated
on a stool. She wants the tusks she has seen in a dream the night before. The king stands
before her, promising to send a retinue of hunters to find out this six-tusked white
elephant. There are four attendants in this scene, two seated and the other two standing.
They are all facing the queen.
The bamboo stool on which the queen is sitting, the metal jug with handle kept by the
side and the foot-wear of the king look very similar to that in use even today.
4. The King orders his Men to get the Tusks: The king, seated on a throne in the court,
is ordering Sonuttara and his lieutenant to arrange for the hunting mission. The stooping
hunters show their obsequious reverence. The queen, seated on a couch beside the king,
has turned her head to look at him. She has also raised two fingers of her right hand, and
rests her legs on a low cushion. By the side of the chaawri-bearer behind the raja, is
another female attendant holding the royal umbrella. The woman wears a scarf over her
head. A stout bodyguard, holding a staff is standing on the other side of the queen. The
mango tree is at the back. We see the same girl noticed in the earlier scene, at the feet of
the queen.
5. Sonuttara spies the Elephant from the Rocks: Bodhi-sattva is seen surrounded by
ten elephants and a calf. At the extreme right Sonuttara, with the same striped vest, stares
at the colossal elephant with wonder, holding a bow in his left hand. The front-view of
the elephant next to the hunter shows how the artist has tried to change the angle of
vision to avoid monotony.
6. Sonuttara brings the sawn Tusks and Subhadda swoons at the Sight of the Tusks:
Sonuttara has arrived at the court carrying the tusks. The queen is seen fainted as she
remembers her beloved of the previous birth. The king, seated by her on a chair, which
seem quite modern has turned round to support her with his left hand. There are four
female attendants standing in a row at the back of the queen. The girl at the extreme right
with a laurel on her head has covered her mouth with her right hand to stifle a shriek. The
maid next to her has brought some water in a pot to revive the swooning queen. The
damsel next to her, holding a fan in her right hand, looks at the former. The fourth, an
umbrella-bearer stares at Sonuttara. Besides these four girl-attendants, there are two
more, one sitting at the feet of the queen, rubbing her feet, to help the blood circulation.
The other damsel leans forward to balance the Queen as well as the composition.
The chair on which the king is sitting, and the fan on the hand of a maid look very
modern. The realistic depiction of the scene, its dramatic treatment, together with the
rhythmic expressions, all speak of the magnificent skill of the artist. The anxiety of the
attendants, the expression of awe and wonder of Sonuttara at the sudden turn of events,
the extreme perplexity of the king are all feelingly conveyed. But the melancholy and
repentant look of the swooning queen surpasses them all.
A scene of comparable pathos is the Dying Princess, painted in Cave 16, some seven
centuries later.
7. Royal Couple, followed by Maids, is approaching a Chaitya









TWO FIGURES OF THE BUDDHA
End of 6th century AD
(****Identify the location***) With the decline of artistic
standards, the narrative scenes were replaced by repetitive
representations of the Buddha. They came to be painted as a
result of the gifts of Buddhist monks for earning religious
merit for the attainment of supreme knowledge by all
sentient beings beginning with the donors' parents. The
purpose of such gifts is further made clear by the statement
that they endow the donor with good looks, good luck and
good qualities.
In this painting two figures of the Buddha are shown
seated on a full-blown lotus against a bolster. The devotee
who caused the figure to be painted also sits near the Master
with his hands folded in anjali mudra (praying-attitude).
This painting is a specimen of the period of
decadence. They lack refinement and finish. The colours are naive, flat and unnuanced -
lines wanting in feeling.

CAVE SIXTEEN
This vihaara is dated to the 5th century AD.
One enters the cave through a spacious
verandah, about 20 meters long and about 3
meters wide. Beyond the six octagonal
pillars and two pilasters lies the main hall.
It is about 22 meters square and 4.6 meters
high. The pilasters on both sides of the
main doorway have sculptures of beautiful
women standing on makara-s (crocodile-
motifs). (**Locate these properly***)
Twenty pillars separate the hall
from the verandas and side aisles.
(**Mention to be made of the
cells/chapels**)
There is no ante-room before the
sanctum, but has two side-chambers. The
colossal Buddha is scooped out from the
back gallery of the hall.
An interesting feature of this cave is
that its plan is incised in an inscription on
the left-hand wall near the end of the facade.
There are a number of paintings that have survived the ravages of time and vandalism.

MAHAA-UMMAGA JAATAKA
5th century AD
(To be edited. The story to be retold properly identifying the scenes clearly****)
King Vedeha was the king of Mithila. There were four courtiers, named Senaka,
Pukkusa, Kavinda and Davinda. They were arrogant and presumptuous. One day the king
had a terrible dream. It was interpreted that there would appear a wise man who would
surpass all the others in wisdom. Bodhi-sattva born as Maho-sadha exhibited supernatural
powers even as a child.
At the age of seven he demonstrated his architectural talents which later saved the
kingdom from enemies. He built a great wall with many rooms and surrounded it with
lakes covered with lotus blossoms.
The four wise men attempted to defeat the Supernatural child by posing a number
of riddles, which were solved by Maho-sadha. This jaataka consists of a series of
anecdotes about this Supernatural Child and four envious wisemen. Two riddles are
painted on the walls of this cave.
Mahaa-Ummaga Jaataka is painted on the left wall of the front corridor, and is continued
on the adjoining pilaster. A large part of the composition is last. One can only guess the
incidents narrated on this panel.
On the top is seen a lake, a
garden and palace built by the
supernatural child. To its left is
seen a horse-rider. It is not
possible to connect him with
any particular incidents. But the
depiction is worth studying. His
coat and striped stockings could
make him out to be a foreigner.
A sword hangs by his side.
Movement of the horse is
unmistakable.
To the right of the rider
and somewhat below it we see
Maho-sadha in conversation
with the four courtiers.
Below this scene is one
of the riddles, called The
Riddle of the Baby. The scene
is very much damaged. A
woman and a Rakshasi dispute
ownership of a child. Maho-
sadha ordered the baby to be cut
into two so that each can get
half. At this the real mother
gives up her claim in order to
save the child. Maho-sadha, thus, establishes the rightful owner. In the surviving part of
the painting we see a man and a woman holding out the child's body while a soldier raises
his sword to cut the boy in two.
At the bottom we see a bullock cart, a design that has not changed in the last 1500
years.

The much damaged panel on the adjoining pilaster is surmised to be of the riddle of
necklace of the Thread.

In a plantain-grove below the royal rider is
the scene depicting Maho-sadha meeting
four envious councillors, who attempted to
destroy Maho-sadha. Each of the four
people is shown in different complexion
and their expressions are also different.
The one nearest to Maho-sadha seems to
be making a point which the child prodigy
listens with attention. The next two are
following the discussion, with the third
person with a Persian cap carries an
expression of wonder on his face with his
mouth wide open. The dark complexioned
man farther from the boy is sinister
looking. His hair is dishevelled and his
hand is on his sword as he looks at the boy
in a wild and threatening way.
On the background are hills,
depicted stylised. Water, again stylised, is
shown as semi-circular arches. The buildings with barrel-shaped roofs are copied in a
number of rock-cut shrines in this area.

CONVERSION OF NANDA
4th century AD
Conversion of Nanda is an episode from the life of the Buddha. This is narrated in Cave 1 also.
The Story:
After attaining Enlightenment, the Buddha converted both his wife and his son to the monastic
order, to lead a life of compassion and austerity. But his cousin, Nanda, was weak at heart and
was initially reluctant to join the order, but later converted to monk-hood.
He had his head shaved and went about begging as a mendicant. On hearing this, his wife
Janapada-Kalyaani swooned.
However Nanda was not really happy and was brooding over his beautiful wife. The Buddha
wanted to show him the right path. The Buddha took him to the heavenly abode of Indra, the lord of
the gods. Nanda could see women more beautiful than his wife and wanted to stay there
permanently. He was then ridiculed by the others for favouring a life of pleasure that is transitory.
Bitten with remorse Nanda came to his senses.
Coming back to the earth he lived the life of a monk following the Law. (May be
condensed)

Three scenes from this story are painted on the left wall above doors of the first two cells of the
hall.
In the first (?) scene, painted to the top right of the second cell door, Nanda is tonsured on
being admitted to the religious order. In the next scene shown to the right of the previous scene
we find him in dejected mood. Obviously he is not happy becoming a monk, renouncing worldly
pleasures, particularly, his beautiful wife
The last is the famous scene, called the Dying Princess, showing the death-scene of
Nanda's newly married wife, heart-broken at Nanda's renunciation. This is painted on the top left
of the first cell door.
NANDA SHAVES HIS HEAD
Though a major part of this painting is damaged what
remains is worth studying. After being initiated into
monkhood, the first act of getting head shaved is shown
here. Nanda is seen sitting on the floor and a barber is
shaving his head. The cross-legged sitting posture of
Nanda is natural as the inclination of his head. A young
monk is watching the scene with anxiety.
NANDA IN DEJECTED MOOD
We see in the next scene the tonsured Nanda sitting in a pillared pavilion brooding over his
pathetic condition. He is perhaps feeling sorry over what he has to renounce, particularly, his
separation from his beautiful wife.
A keen sense of observation is evident in the portrayal of the Nanda, with his knee
supporting his right elbow and his hand on his right cheek.
In all the scenes the contemporary architecture can be appreciated. Also may be noted the
beautiful ornamentation on the pillars.
DYING PRINCESS
4th century AD
Finally, we come to one of the most beautiful paintings of Ajanta, popularly known as the Dying
Princess. The painting is greatly damaged.
The lady is seen in a faint on a couch at the sight of a crown presented by a messenger at the left-
hand bottom corner. The entire panel is gloomy and melancholy. The expressions of the
characters in the scene, together with their gestures, reflect extreme anxiety and the seriousness of
the situation.

Nandas wife is seen fainted with her attendants
attempting helping her. Her head hangs linp. Her back
is resting on a cushion as her left elbow. The maid
behind her is holding her. The one on the right of the
queen is looking at her with concern. Anxiety is writ
on thee face of the maid with fan. The male attendant
with scull-cap on the left has features of a foreigner.
The person behind the pillar may be the messenger
who brought the sad news.
Two maids are seen on the terrace above the
pavilion on the right. The one on the right is carrying
a pitcher, perhaps, with water to sprinkle on the
queen. Her hair-dress is exotic.
A peacock is
seen on the terrace,
the posture which
is, again, part of the
melancholy mood
of the scene. The
whole scene exudes
gloom and sorrow, a
very successful
attempt by the artist
to bring out the
essential emotion of
the scene.

The composition is
worth studying in
detail for a number
of reasons. The
heroine is dark
complexioned, a
feature we often
come across in
Ajanta. Perhaps in
the contemporary
context black was considered beautiful. Another feature which can be met in many narrations in
Ajanta is that the leading lady is depicted in the nude. This is must be deliberate, for all thee
women shown in the scene are fully clothed!
Lastly, the embroided cushion on which Janapada-Kalyani is resting and the exotic dresses
are some of the characters are notable features.


CAVE SEVENTEEN
This vihaara was excavated in the 5th century.
The paln is typical of the Ajanta vihaara-s.
(To be edited)
has a plan similar to that of Cave 16. The
verandah, about 20 metres long and about 3
metres wide, has massive pillars in front. The
main hall has three entrances, and the central
door is adorned with carving. The twenty
columns dividing the corridors on the four sides
of the hall, which is about 20 metres by 6
metres, has an antechamber, which is about 5.6
metres square.
The shrine contains a massive figure of
the Buddha in the dharma chakra pravartana
mudra (turning-the-Wheel-of-religion-attitude).
The central figure is flanked by the Bodhisattva
Padma-paani on the right and the Bodhisattva
Vajra-paani on the left.
The paintings in the vihaara are in a comparatively good condition and this cave,
like Cave 1, is a veritable paradise for art-lovers. The cave has a number of surviving
painting on the ceilings.

VISVANTARA JAATAKA
As per Buddhist belief this was the last Bodhisattva incarnation before being born as the
Buddha. This was a popular jaataka and is narrated in Cave 16 also.
The Story: Visvantara was the son of King Sanjaya and queen Phusati in the city of
Jetuttara. He exhibited his generosity from the time of his birth. There was a magical
elephant in his kingdom which could bring rain. The young prince gifted away to the
neighbouring country even this elephant when his own country was suffering from acute
drought. Angered by this and to assuage his subjects the king banished the young prince
from the kingdom.
Vishvantara left along with his wife and two sons. On the way he gave away even
his chariot and horses to needy persons. Later, when Jujuka, a Brahmin, begged his for
favours he gave away his sons too. The subjects, having come to know the plight of the
children, requested the king to recall the prince.
The king paid handsome ransom to the Brahmin and got released his
grandchildren. Finally the family came to be happily reunited.

Belonging to the classical period of Ajanta, the lovely composition provides wealth of
information about the prevailing taste of this period.


A number of episodes from the Visvantara Jaataka are
painted in this cave and cover a large portion of the wall
on the left aisle, except for the first scene which is
painted on the left side of the main veranda.





There exists some difference in the opinion of experts whether the panel painted in the
veranda depicts Visvantara Jataka at all. Firstly, it is pointed out, that physical features of
Visvantara in this panel is different from that of the prince shown in the hall inside the
cave. Secondly, if the depiction in the veranda is taken to be scenes from the same Jataka,
we need to explain why the artist has repeated certain scenes. We, with out going into the
merits of the claims, shall follow the majority opinion for explaining the scenes.
First three scenes
on the varanda
Rest of the scenes
in the hall
General description of the panels: The drama starts with Vishvantara Distributing Alms (1)
painted on the left side of the outer veranda above the window on the left. The second
scene of Visvantara informing his Wife of his Banishment (2) is painted above the
window on the right. What follows is the scene of Visvantaras Departure (3) to the left
of the earlier picture.







Remaining
Scene

1. Vishvantara distributing Alms
2. Visvantara informing
Madri of his banishment

3. Visvantaras
Departure
Window Window
The narration continues inside the cave starting from the left of the second cell
door. First is the scene where Visvantara breaks the unpleasant news to his young wife.
This scene is a repetition; we had seen it in the veranda. Though the artist has positioned
tactfully the two characters as if they are face to face, the scene in the veranda brings out
the poignant mood better. Above the cell door we have Visvantara and Madri taking leave
of the king in one pavilion (4) and then of the queen in another pavilion (5).




In the middle of the wall between the second and third cell-doors, that is somewhat below
the previous scene, the prince and his family are seen departing in a decorated carriage
drawn by four horses (6).
Next we find the royal family standing on the ground, for the generous prince had donated
the horses (7) and the carriage as well (8).





5. Visvantara
taking leave
4. Madri
taking leave
Visvantara
informing
Madri
(Repetition)
6. Visvantara
leaving city
7. Prince
gives away
the horses
8. Prince
donates the
carriage
Third Cell
Entrance

Second Cell
Entrance


Then follows the depiction of their life in Mount Vamka. In the damaged mural we can
barely see the daily chore of Madri, like collecting fruits in the wilderness, etc. (9) The
painful act of generosity, of gifting away his sons to a greedy Brahmin, is depicted next.
The Brahmin seeking the boys is painted above the third cell door (10), gifting the sons is
depicted on the bottom-right of the cell entrance (11) and finally breaking this news to the
hapless mother is painted close to the top of the cell door, left of the scene where the
Brahmin asks for the sons. (12)
Scenes leading to the happy reunion are painted scattered around the fourth cell entrance.
Having heard of the plight of the grand-sons, the king consults his courtiers and decides to
revoke Visvantaras exile (13). The greedy Brahmin is called to the court (14) and was paid
substantial ransom to release the boys (15). The triumphant return of Visvantara is depicted
on the above the third cell door slightly to the right of the Brahmin seeking the sons. (16)
The grand finale of the crowning of Visvantara is painted to the right of the
previous scene. (17)
9. Life in
Jungle
11.
Visvantaraa
donating his
Sons
12. Grieving
Madri
10. A
Brahmin
demands the
Boys
13. King
decides end
Visvantaras
Exile
14. The
Brahmin
called to the
Court
15. King pays
the Brahmin
Ransom
16.
Vishvaatara
escorted back
17.
Visvantara
crowned
Entrance to
the Fourth
Cell
Entrance to
the Third Cell
VISVANTARA DISTRIBUTES ALMS
The scene, Visvantara distributes Alms,
is painted on the left side of the outer
veranda.
On the left of the panel we see Visvantara
sitting on a low stool distributing alms.
Around are a number of beggars rushing
forward. Visvantara is dark
complexioned, and in the scenes that
follow one cannot fail to notice this as
well as his curly hair, features attributed
to southern influence. (**What about
Madri?***) The lower part of his figure
is damaged.
The expectation in the face of the
assembly is well portrayed. The scene
faithfully depicts the usual commotion
associated with any alms giving ceremony. Of some interest are the square shaped
umbrellas some of the people are carrying, another feature that would recur in later scenes.
VISVANTARA CONSOLES MADRI
The second scene of Visvantara consoling Madri, of his banishment and subsequent
departure is painted above the entrance to the first cell.
This is one among the masterpieces of Ajanta. Belonging to the classical period, the
scene brings out the emotional atmosphere effectively.
The banished prince is seated on a low seat and his wife has collapsed on his lap.
Anxiety is evident in the face of
the two characters. Visvaantara is
offering a cup of wine to steady
her, which the princess looks
unaware of.
Her beauty, her looking
obliquely at her husband, the
posture of the couple, the sombre
colours, all these make the
painful scene striking. The whole
scene exudes melancholy.
In the pavilion we find a
dwarf, a character found in all
royal scenes, a maid with a
pitcher on her lap and an
attendant behind a pillar ready
with a wine-jar. This person is
wearing a skull-cap, marking his as a person of foreign origin, a feature met with in many
royal scenes.

VISVANTARAS DEPARTURE
To the left of the earlier picture is painted Visvantaras departure. In this we witness the
young royal couple leaving the palace watched by the royal household.

Visvantara and Madri
with umbrellas held over their
head the royal couple are
leaving the palace on exile.
Visvantara is barefooted and
clad only in a loin cloth. The
princess, graceful even in this
sorrowful moment, is
surrounded by male and female
attendants. They are passing
through a garden to reach the
palace gate.
The king and the queen
watch the harrowing scene from
a window.
Even in this moment of
distress the prince is accosted by
a beggar with crooked staff another test of his generosity!

The pathetic scene depicted in brown is contrasted with greenish areca-nut palm grove at
the background. Notable features are that the unchanged physiognomy of the main
characters, the graceful posture of the princess and the colour combination used to bring
out the pathos of the scene.
It was mentioned before that according to some experts the scenes described above do not
belong to the narration of Visvantara Jataka.
VISVANTARA INFORMS HIS WIFE
The story continues on the walls inside the hall.

To the left of the entrance to the second cell we find Madri and
Vishavaantara tactfully placed at right angles to each other.
The portrayal of both Visvantara and Madri is superb bringing
out the compassionate and gentle nature of the royal couple.
(****Pictures are to be added.***)

If the scene intends to portray Visvantara informing his wife of
his banishment as many experts feel, the two must have been
drawn facing each other. Further, why this scene was necessary,
when the same scene was enacted before, and more forcefully,
we may never know! It may be that the story is told again
starting from this scene. This guess is prompted by the fact that
the narration is continuous from here to the end of the jaataka.

CITIZENS WATCH VISHVAANTAS DEPARTURE
In the middle of the wall between the second and third cell-doors, that is somewhat below
the previous scene, the prince and his family are seen departing in a decorated carriage
drawn by four horses.
Among the crowd are two disconsolate citizens who watch Visvantaras departure.
The composition is one of the masterpieces of Ajanta.
(*** Picture to be added****)
RESTORATION OF CHILDREN

Paying the greedy Brahmin a ransom that leads to the
happy reunion is painted to the top-left of the fourth
cell door entrance. The event takes place in the court
of King Sanjaya.
(*** Insert Picture****)
(*** Can be deleted: At the left bottom corner we see
the earlier sequence that of the guard enquiring of
Jujuka, the greedy Brahmin, about the children. The
guard is adorned with jewellery and the bejewelled
sword hanging from his belt is very prominent. The
posture of this guard recalls that of the guard of
Avalokiteshwara in Cave 1.***)

The king, suitably bejewelled appropriate to the occasion is seated on a throne. His crown
is spectacular with its rich diadem. To his left is his queen more concerned with the
regained grand-son than the going-on in the court. One of them is hanging on to the diwan
of the King watching the proceeding with curiosity and the other at the knee of the queen.
At the foot of the king are some courtiers discussing, obviously about the drama being
enacted before them.
Jujuka, the greedy Brahmin, is very happy at the prospect of becoming a very rich
person. We see an official of the court, most likely the treasurer, is pouring gold coins into
the extended hands of Jujuka.
Now the painful story ends. Visvantara will now be crowned!
CORONATION OF VISVANTARA
The finale of coronation of
Visvantara mostly damaged, and
what little remains, it is claimed,
seems to have been retouched in a
later period. The coronation
scene, however, is well conceived.
Visvantara is seen sitting in a throne while holy water is being poured over him. Queen
Madri is watching it from a pavilion on to his right. There are two women carrying
offerings on a tray, both of them in striking graceful tribhanga (triflex) poses.
APPRECIATION OF THE COMPOSITION
Because of the fortunate survival of sufficient part of the narration we are able to comment
on the vision of the artist. The drama moves from scene to scene effortlessly and shows the
artists adeptness in continuous narration, dramatisation and body language. On the walls
of Ajanta he was able to bring out the vibrant social mood while composing religious
themes.
We are also able to follow symbolism in Indian art from quite a few scenes of
Ajanta paintings.

MAID BRAIDS THE HAIR
The Ajanta artist did not just
paint scenes of religious
themes on the wall, but
embellished them with
beautiful details of everyday
happenings which may in
no way be connected with
the main story telling. For
we have an exquisite
painting of a maid braiding
the hair of a woman. We neither know who the characters are, nor the connection of the
scene with the narration.
A MARKET SCENE

The Ajanta artist has provided excellent snap shots of the life
then. Here, and elsewhere in Ajanta, we have scenes which are
not directly relevant to the narration which portray the life
those days.
In the scene where the exiled princes chariot passes through
the market we get idea of the contemporary market street. We
see three shops in this composition. The first on the left is
perhaps of a mail-vendor. He seems to have two pails of milk
and a basin for curd. To the right is an oil-man, ladling oil into
a cup. Lastly we see a grocer with his balance. The building housing these shops are
double-storied, for we can see women watching the exile of the prince from windows of the
upper floor.
Shops are shown in the narration of Subjugation of Nalagiri in the same cave.
SYMBOLISM IN INDIAN ART
According to the canons of Indian painting, the limbs of human
characters are related to the shapes and forms of the vegetal and
animal worlds. The torso of King Sanjaya in this panel is lion-
waisted (simha-kati), and is an example of such sadrishya
(similitude).
We have examples such similitude, like feet like leaves (pada-
pallava), shoulders like elephant-head, etc, in Ajanta.


CARICATURING
Ajanta artist was a master in caricaturing. Portrayal of the greedy Brahmin, Jujuka, is an
excellent example for character study. He depicted five times. The repulsive character has
been delineated through his ugly features with great effect: the broken front teeth, the
goatee beard, the bald forehead and the spiky hair at the back of his skull, the parrot-like
nose and small uncanny eyes. One can see a glint in his eyes in the last scene when sees
money being poured in to his outspread scarf.
The artist, as elsewhere, has maintained continuity in dress and deportment. We
may notice that Jujukas umbrella is torn in a corner in every scene.
DESCENT OF INDRA

(Location sketch to be added) On the back wall of the veranda, on both sides of the central
door are painted scenes of devotees coming down from the heaven to worship the Buddha.
A major part is damaged. The composition on the left side contains parts which can be
identified. This is considered to represent descending of Indra and his entourage of five.
This is painted just to the right of the narration of Visvantara Jataka. In the centre is barely
discernable the outlines of the Buddha, the object of adoration.
In this group the central figure is Indra.
This God of the heaven is light in
complexion and bejewelled and with a
magnificent crown appropriate to his
stature. He has a dagger and a sword
attached to his belt.
There are five celestials who
accompany Indra on this voyage. On to
the right of Indra is one with a long staff
at the end of which a small disc attached.
Many have identified as a musical
instrument. But it is not possible to relate
to any known instrument. His features
are rather coarse. There are two
celestials to his left, both excellently
drawn. They are playing symbols, one
on the left with closed eyes lost in music
and the other looking at her from the
corner of her eyes, perhaps taking clue from her companion in following the rhythm. The
one on the extreme right is playing flute. This is an interesting study, a rare view from the
back, with a hair arranged in a bun and tied with a fine cloth. Lastly, we have a musician
carrying a musical instrument that cannot be identified, an instrument with a resonator.
This composition is worth studying, among other things, for the Ajanta artists dexterity in
portraying movement. The movement of the Indra entourage in south-easterly direction is
evident. For strings, necklaces and loose garments are seen swinging in the opposite
direction. To accentuate the illusion the clouds are also drawn as clusters piled up in the
north-westerly direction.
The suggestion of weightless grace and elegance in these figures reminds us of the
effortless flight in Gupta sculpture and the Pallava sculpture at Mahabalipuram.
It also illustrates the extraordinary breadth and sureness of the draughtsmanship. The
individual features, eyes, nose and mouth, are defined with free, flowing sweeps of the
brush. The varying thickness of the lines provides a kind of shading, and the very freedom
of the drawing imparts both freshness and boldness to the forms as well as the decorations.

The unmistakable rhythm of dance, use of variety of sthaana-s (body postures), and,
finally, expert draughtsmanship, all make this composition a remarkable one.

WORSHIPPING THE BUDDHA
Flying celestials are common in Indian paintings and sculpture. Flying vidyadhara-s are
frequently seen behind the main deities, on the brackets, and in any place the artist feels
would highlight the theme. We saw Indra descending to adore the Buddha. Ajanta painters
took great pleasure in composing scenes involving movement with zest.
To the right of the central door we see another group of gandharva-s and kinnara-s floating
effortlessly through clouds towards the earth to worship the Buddha. Their direction is
westerly, towards the main door. Again a major part of this composition, alas, is
irrevocably lost. From what survives we find two beautiful studies. One is a celestial
couple seen on the top left, and the other is a celestial popularly known as the Black
Apsaras, painted slightly to the right on the top-centre.
(***Location of the paintings Zin ; Page 30)
(*** Line drawing Zin : Page 30a)
THE BLACK APSARAS
The Black Apsaras, one of the most beautiful women of Ajanta, is
seen drifting through the clouds playing symbols. Her ornaments
necklace of diamonds, saphires, etc - swaying with her movement of
flight. Her hair-do is unique, with strings of jewellery and precious
stones and stiff white riband.
Ovoid is a recommended shape for face in the shastra-s. Her
oval face, dreamy eyes, tiny mouth, elegant and graceful hands
evokes a sensual warmth, a thing of beauty that has fortunately
survived in Ajanta.
She is one among the black beauties of Ajanta, of which
Ajanta abounds. Many people claim that celebration of darker
complexion is due to the southern influence.

Ajanta artist has adopted a number of means to effect depth and relief. Vartana (shading)
and Ujjotana (adding-highlights) are the two important methods. We can witness in this
painting the judicial application of ujjotana with restraint on the chin and the cheek. The
coposition called for it. Elesewhere, in the Women in the Palce Scene in Cave 1 and in
Vidhura-pandita Jatakaa in Cave 2, the application of white patches is rather liberal.
(*** Picture from 500 years)
YAKSHA COUPLE
To the right of the central door along with the Black Apsaras and a few gandharva-s and
kinnara-s floating through clouds towards the cave entrance we find a Yaksha Couple.
The composition is really sculpturesque!
The male
yaksha has a
sword tied to his
waist. An
extremely delicate
piece of jewellery
and an exquisite
hair style are the
distinguishing
features of the
female.
The
effortless ease of
flying is another
notable feature.
BUDDHAS AND MITHUNA FIGURES
You are greeted at the entrance
to the main hall of the cave by
eight almost identical figures of
the Buddha painted above the
door frame. And, just below
them, strangely, are painted
eight amorous couple (mithuna-
s). This feature, that is, of
painting on the lintel of the
main entrance, is not found in
other caves.
The portals pillars also were
painted, but little is left is them.
From what survives we can see
amorous couple here as well.
The crowning part we have the
paintings of chaitya-arches.
Two exquisite sculptured figures of riverine deities, Ganga and Yamuna, lend support and
add welcome grace to the doorway. There is still some stucco on these sculptures with
pigments on them that show that the Ajanta sculptures were plastered and painted. The
kinship we find between sculpture and painting, as that between painting and dance, in
India is something altogether unique in the history of world-art.
(***Line figure Zin, page 26)
One wonders the propriety of selecting eight amorous couples under the Buddha-figures in
a vihaara, a chapel-cum-dormitory for celibate monks. Admittedly, the figures are realistic,
and the composition, drawing and colouring are excellent; yet, with our contemporary
sensitivity, we cannot but feel a little ill-at-ease at the awkward juxtaposition of the
incompatible ideas conveyed by the two parallel rows.
Perhaps, the possible explanation is that the artist-monks had no inhibition
portraying the pleasures of life.

The Buddhas: The first six of the eight Buddhas are the Buddha-s of the past: Vipashyin,
Shikhi, Vishva-vasu, Kraku-chchhanda, Kanaka-muni and Kashyapa. The seventh is , the
Future Buddha.

There are a
number of features
common to all
these figures and
also some
variation among
them. Halos
around the heads,
sitting on cushion,
decorated thrones
and trees at the
back are
common. Let
us now study
the variation.
The hand
gestures
(mudra-s)
alternate
between
meditating and
preaching
attitudes.
Likewise, the upper garment
alternate between covering one or
both shoulders. It is likely that the
trees depicted are also different.
The tree behind the
Enlightened Buddha, the seventh
figure, is pipal and that behind the
Future Buddha, the last figure is a
naga tree. It is difficult to identify the
other trees from the mural, as they are
considerably damaged. One may

surmise their identity from literary references. Thus we have Vipashyin under paatali,
Shikhi under puNdarika, Vishva-vasu under Shaala, Kraku-chchhanda under Shirisha,
Kanaka-muni under udumbara and Kashyapa under nyagrodha.
All the Buddhas have some common features, curled locks of hair with an ushnisha
(a characteristic hair arrangement), long ear-lobes and down-cast half-closed eyes. The
colour of their robes vary. Only the seventh Buddha, namely Gautama, has the
conventional yellow robe on his person. The last in the list, Maitreya, the Future Buddha, is
1. Vipashyin 2. Shikhi 3. Vishva-vasu
4. Kraku-chchhanda 5. Kanaka-muni 6. Kashyapa
7. Shakya-muni 8. Maitreya
the only one wearing a magnificent crown and other jewellery. The first five Buddhas are
dark in complexion. Some feel it is due to oxidation of the pigments over time.
We have no explanations to offer to these differences. Perhaps there were the cultic
conventions.

Mithuna Figures: Under each of the above Buddha figures is a small rectangular slab
showing mithuna figures (couples). The varied tones of their skins display a remarkable
sense of colour and a controlled rhythm in the draughtsmanship. These figures are lively
and in light mood to contrast the mood of the divine figures painted above.
Sportive and jolly, they are sipping wine, caressing or wooing the partner in love,
although one cannot find any coarseness in their compositions. In one of the panels a girl
offers a cup of wine to her beloved; in another, the male figure, recumbent on a bolster, is
caressing his lady-love; in a third the two lovers are almost embracing each other.
MIRACLE AT RAJA-GRIHA
Also known as Subjugation of Nalagiri, this is one of the four miracles performed by the
Buddha and Raja-griha, the place where this miracle took place, one of the eight most
sacred places, called atta-mahaa-thaanaani.
The Story: Deva-datta was a cousin of the Buddha. He was envious of the Great Being and
attempted to murder him. He failed miserably every time. Subjugation of Nalagiri is the
name of one such attempt. King Bimbi-sara was a faithful follower of the Buddha. But his
son, Ajaata-shatru, who came to power after dethroning his father, took steps to remove
Buddhist influence in his country. Deva-datta conspired with King Ajaata-shatru of
Rajagriha, and released an intoxicated elephant, called Nalagiri, on the streets of
Rajagriha just when the Master was passing through. The people ran helter-skelter on
seeing the charging elephant. But the Most Compassionate One was unperturbed. When
Nalagiri came close he gently stroked him, to which the mad elephant responded by
kneeling down in obeisance. Deva-datta's scheme was defeated by the love shown by the
Buddha.
General Description:
The narration is painted above the two windows to the right of
the main-doorway.
On the extreme left, above the left window we see
Deva-datta and King Ajata-shatru hatching a conpiracy to
murder the Boddha (1). To the right of this scene we see the
mad elephant, Nalagiri, being let out from the stable. (2) This
part is badly damaged.
Another badly damaged scene is painted between the
two windows depicting the hosts of the Buddha wondering
about the fate of the Master. (3)
Just above the window on the right we see the elephant
running amok through the streets of Raja-griha and the people running helter-skelter in
fear. (4) And finally the mad elephant calms down and prostrates before the Buddha on
being touched by Him. (5)
In the last two scenes we have a graphic account of contemporary market and a glimpse
of life in a city.
1. Deva-datta
hatching
Conpiracy
2. Mad Elephant
let loose
4. Elephant
running amok
5. Elephant
subjugated
3. Hosts
worried
Left Window Right Window

DEVA-DATTA HATCHES A CONSPIRACY

In this first act, we find King Ajata-
satru and Deva-datta hatching a
conspiracy on the first floor of the
palace of the king, shown on the top
of the composition. On the ground
floor, most likely the women
quarters, the women are in animated
discussion.
We see two persons in
discussion on the first floor. The
seriousness of the subject can be
surmised from their gestures. The one on the left is easily identified as the king by his rich
regalia a crown, glittering jewellery with sparkling diamonds and pearls. To his right is
Deva-datta in the garb of a Brahmin. Perhaps he entered stealthily hiding his identity. A
better part of both of them is damaged.
Behind the king, across a pillar, a number of women are seen, probably palace
maids. Concern on the proceedings beyond the pillar is writ on their face. There are four
maids, also in animated discussion, on the lower floor. They also look concerned at the
going on in the top floor.

The dress of these maids and their hairstyle are worth noting. Most of them are barebodied
above the hip, but the one in the middle on the top floor is wearing a long sleeved jacket.
Their hairstyle is interesting. There is no repetition. Particularly interesting is the hair-do of
the woman who is seen second from the right on the lower floor. This bears a close
resemblance to that of present-day, Mohini Aattam dancers of Kerala.
The architectural detail of this scene is worthy of study. Also interesting are the
sthaana-s (body-postures) of the women and their mudra-s (hand-gestures).
MAD ELEPHANT NALAGIRI
Separated by a conventional
arch, the next act begins. In
this the charging of the rogue
elephant is depicted.

The location of the scene is the market street of Raja-griha. As we seen the narration of
Visvantara Jataka, the street consists of rows of shops on the ground floor and apartment on
the first floor. The shops have shutters that open outside, like we have even now in some
places. These awnings are of canvas or similar material.
It looks that the mad animal has dislodged the door of the first shop. a person
behind the animal, probably its mahout, is gesturing to the crowd, probably warning it. The
elephant has picked up a man and is holding him between the tusks. The threatened people
are running in fright, and the shopkeepers are hastily closing their shop. There is
commotion and confusion all over. The people in the apartments above are watching the
scene below with great concern.
Great dynamism is evident in the entire scene, particularly in drawing the mad
elephant. It has been pointed out by some that the elephant is shown rather too large. This
is true. May be the artist felt this exaggeration is called for!

SUBJUGATION OF THE ELEPHANT
Deva-datta had imagined that
the elephant running amok
would trample upon the
Buddha who would be
walking through the street.
The animal which created such a havoc all through the way, did the unexpected on seeing
the Compassionate One. The elephant stopped in front of Him, sat and prostrated before
Him to utter relief of the people around. The Master accompanied by His disciple Shari-
putra stands on a lotus and is seen stroking the subjugated animal with infinite affection.
The onlookers who witnessed the miracle are seen showering flowers and garlands.
The giant animal occupies a very part of the space. The central figure the master
rendered insignificant in size and in location is not expected out of such a sensitive
Ajanta artist.
SHAD-DANTA JAATAKA




Shad-danta Jaataka is painted on the outer wall of the front
corridor left of the main entrance. The same jaataka is found
narrated in Cave 10, belonging to the pre-Christian Hinayana
period, some six hundred years before. A comparative study of
the two compositions would be rewarding, as this brings into
focus both the continuity and the variation in the artistic styles
over a period of these six hundred years.















The story is depicted in a number of scenes. Scenes narrating the earlier part of the story
painted at the bottom of the panel are damaged. Only five scenes are discernable. The first,
painted on the top-left, is the Queen's bedroom in which Queen plans her revenge;
second, the lotus lake in which Shad-danta is Sporting with his herd, of which the
beautiful lake is visible; third, Shaddanta pulls out his Tusks; fourth Sonuttara brings
the Tusks of Shad-danta to the royal court; and fourth, the Queen faints on seeing them.


1. Queen plans her Revenge
(Mostly damaged)
2. Shaddanta sporting
with his Herd (Mostly
damaged)
3. Shaddanta pulls out
his Tusks
4. Sonuttara brings the Tusks
5. Queen faints
SONUTTARA BRINGS THE TUSKS
In the lower portion of the right hand panel is depicted the third scene.
First, we find the six-tusked Shad-danta and his followers. A baby elephant in the middle is
a very interesting study.


First we see Sonuttara, shown on the top, attempts to shoot the elephant. The
compassionate Elephant-king takes pity on the hunter and pulls out his tusks. This is shown
on the right-bottom. The grateful hunter is seen prostrating before Shad-danta. To the
immediate left, the hunter looks back at Shad-danta with reverence, and to the further left,
he is seen carrying the tusks on slings walking towards the palace.

We may notice that a continuity in painting of elephants from the Hinayana painting of the
2nd century BC of Cave 10 to this composition.
QUEEN FAINTS
In the last episode, painted to the left, the queen faints at the sight of the six tusks. It
appears as a framed picture in the mural. In this it is different from the narration in the pre-
Christian era painting in Cave 10.

Keeping with the style of
the period the earlier
painting was a horizontal
composition. Here it is
spread all over the wall,
and, as usual, no
chronology is maintained.
The composition of this
particular scene is also
different. While she was
seated in Cave 10, we find
her fainting in the arms of
the king here.
Further, the
drawing of the royal
bedchamber within a frame is unusual even by the standards of the day.

MONKEY BENEATH A TREE
Though not connected with the narration directly Monkey beneath a Palas Tree is an
interesting painting.
A
relaxed, dignified calm monkey, consisting basically of one masterly sweep of a long
stroke of the brush starting beneath the chin and forming a curve outlining the head and
spine and terminating beneath the knee-cap, is a fine example of the translation of closely
observed scenes and moments of action or repose into simple yet profoundly explicit
drawings.
Equally interesting feature of the scene (not shown in the colour reproduction) is that the
artist has painted a row of ants on one of the branches. The Ajanta artist has paid minute
attention to represent all kinds of living beings, including ants!
MAHAA-KAPI JAATAKA
Buddhist faith preaches compassion towards all creatures. The Bodhisattva incarnated as
animals many times to propagate this virtue. Once He was born as a monkey and the story
is known as Mahaa-kapi Jaataka.
There are two episodes narrated in this cave. In one of them He helped His herd
escape from the attack of the king by forming Himself a bridge across the river. In the
second, He helps an ungrateful brahmin who attempted to kill Him.

Mahaa-kapi saves his Herd: An Episode from Mahaa-Kapi Jaataka
The Story: Once the Bodhisattva was as born as the king of monkeys, and lived in a forest
far away the city. In the forest was a very huge mango tree, which produced extremely
delicious and extra-ordinarily large fruits.
One day one of the fruits fell into the river and was picked up by a fisherman. Never
seen such a fruit he took it to his king. The king after enjoying the fruit ordered his army to
trace the tree, which produced such delicious fruit. When the tree was located the king
found to his dismay that a large herd of monkeys are destroying the mangos. He then
ordered his army to shoot the monkeys down.
The king-monkey apprehending danger to His subjects caught hold of a branch of a
tree to covert his body as a bridge and ordered the monkeys to escape. The last monkey,
who was envious of the king-monkey, intentionally kicked the most benevolent monkey
while jumping off his back. The tired monkey-king fell into the river below wounded.
The astonished king, touched by what he has seen, rescued Him. But in spite of his
nursing, the monkey-king died, but without any hatred towards the monkey who kicked
Him.
MAHAA-KAPI SAVES HIS HERD
An episode from this
jaataka is painted on the
inside wall of the front
veranda, on to the left of
the main entrance. This
badly damaged mural.
In the first seen we see monkeys enjoying fruits leisurely. (1) The next scene, painted in the
middle, the king is seen on a horse marching towards the forest. (2) He has an umbrella
held over his head, his army with the solders carrying swords and shields, preceding him.
Now the location shifts to the forest. The monkeys on hearing commotion attempt
to cross the river. The monkey-king stretches his body to act as a bridge for the monkeys to
escape and monkeys passing over his back. (3) A little higher to the marching king, three
archers are shooting at the monkeys on the tree. (4) Next we see the fallen monkey-king
being rescued by two solders on a blanket. (5) The scene in which the Bodhisattva is
preaching the Law to the king is painted above the window. (6)
As part of the forest scene, we have a river flowing depicted on the right. The river is
shown with fish swimming, water birds swarming and men and women taking bath. There
is an unexpected scene also. The artist has added a touch of humour. A short man is peeing
over the low wall ogling at the bathing beauties. We can never understand why such an
incidence finds place in a religious theme. Or are we mistaken?

The narration of this jataka is another illustration that the scenes are not painted in the
chronological sequence. In most of the paintings we find that scenes are grouped together
on the basis of location. To follow the sequence would mean abrupt changes in the settings,
which, the artist might have thought, would disturb the composition.

1. Moneys
enjoying
2. King in
Forest
3. Monkey-
king as
Bridge
4. Archers
shooting
5. Monkey
fallen
6.
Bodhisattva
preaching
MAHAA-HAMSA JAATAKA
The Story: On Mount Chitrakoota, there lived a flock of geese and their king was King
Dhritarashtra, Bodhisattva born as a Golden Goose. On day Queen Khema of Varanasi
dreamt of listening to a beautiful sermon by a golden goose. She wished to hear the
complete sermon in person.
Having heard about the Golden Goose, the king constructed a beautiful lake,
planted five kinds of lotus, scattered different varieties of grain to attract the geese, and
laid a snare. He also kept a fowler as a watch.
The geese on coming to know about the beautiful lake, sought permission from their
king through their minister, Sumukha. The Golden Goose warned them of the danger. But
they insisted, and the entire flock went to the lake. While they were enjoying the bounty of
grains, their king uttered a cry of warning on sighting the snare.
All the geese flew away leaving Sumukha, the minister and King Dhritarashtra. The
king asked his minister to escape, which he refused.
Seeing the unusual sight the fowler caught both the birds and took them to the
court. They were both received with great honour. Then Bodhisattva preached the Law to
the royal couple.
Mahaa-hamsa Jaataka, the story of the golden goose was very popular at Ajanta and it is
also depicted in Cave 2.


The story starts on
the top where the
king is consulting
his ministers to dig a
pond in front of the
palace to trap the
golden goose. This
scene is greatly
damaged.
The next scene is
painted at the
bottom where the
geese are caught in
the net and the
hunters are catching the sacred bird and his chief adviser . This panel is also damaged.

The catching of the geese by the fowler and bringing to the court is painted on the adjacent
pilaster. Golden Goose gives a sermon is the final scene. The last two scenes are
discernable.
In this vihaara
the story is
painted on the
left wall and the
adjoining
pilaster of the
front corridor, to
the right of the
cell door.
A FOWLER BRINGS THE GEESE TO THE COURT
The scene where a fowler brings the geese to the court is painted on the pilaster to the right
to the court scene. In this we see the fowler carrying two birds, one in each hand, and also a
few birds flying away.

In terms of style the birds
painted similar to the hen in the
scene Children play with a Hen.
Although the firm brush strokes
have given the birds in this cave,
an appearance of solidity and
firmness, the composition and
their movements in the air are
most natural.

GOLDEN GOOSE GIVES A SERMON
We see the Golder Goose giving a
sermon to the king and his court.
The seated on a throne on the left is
perhaps getting some doubts cleared
as can be seen from from his hands.
The minister sitting to the left of the
king is attentive, so most of the
people present. On the extreme right
are two women, one a chawri-bearer
and the other carrying offerings on a
plate.
The Bodhisattva in the form of
Golden Goose is given an
honourable seat of a throne and
behind is sitting the chief of the
geese.
The court scene and the modelling of
the king with a lion-waist is similar
to scenes elsewhere in Ajanta.



MAHAA-KAPI HELPS AN UNGRATEFUL BRAHMIN: AN EPISODE FROM MAHAA-KAPI
JAATAKA
The Story: Once a man, while collecting some fruits in a forest, fell into a pit from which he
could not come out. The Bodhisattva, born as a monkey, saw his plight and with great
effort carried him on his back to safety.
When the tired monkey was taking rest, the ungrateful man picked up a big rock
and threw at the monkey so that he can eat it. The monkey was badly injured and
admonished the man for his ungrateful act. Then the compassionate monkey led him out of
the forest.

This episode is painted on the far-end of the left-hand wall.

The story begins with a man sitting on a tree and plucking fruits,
painted on the extreme right (1). Some what below this we see the man
in the well shouting for help, and the monkey looking at him from
above (2). The monkey, with great effort, carries the man on his back
and brings him out, and is shown at the centre (3). On the top we see
that the monkey is now exhausted and is seen sleeping, while the
ungrateful man is
about to throw a
boulder on the
rescuer in order to
eat it (4). The next
scene painted to
the left of the
earlier scene,
where the injured
monkey is seen
admonishing him
for his ungrateful
act (5). Finally,
depicted at the
bottom-left, the
compassionate
Bodhisattva escorts
the man out of the
forest (6).




1. Man
plucking
Fruits
2a. Fallen
man shouts
for help
2b. Monkey
listens
3. Monkey
rescues
4. Man
attempts to
kill the
sleeping
Monkey
5. Monkey
admonishes
6. Monkey
escorts him
back

Scenes 4 and 5: On the right the
ungrateful man attempts to kill the
monkey which has helped him coming
out of the well by throwing a large
boulder. The effort of lifting a huge stone
is unmistakable. This mean act he is
contemplating merely to quell his
hunger.






In this Scene 3, shown on the right, the monkey
rescues the fallen man by carrying him on his
back.
In the last scene, Scene 6, the compassionate
Bodhisattva, born as a monkey, escorts the man
out of the forest.






The forest scene is composed excellently, the trees are very natural and the two deer are in
animation and full feeling. Ajanta artists representation of animals exhibits not only his
virtuosity in portraying animals but succeeded in creating vigour and spontaneity.

SUTASOMA JAATAKA
The several episodes from Sutasoma Jaataka are painted on the wall
of the back corridor left of the ante-chamber with a great deal of
imagination and skill. Next to Simhala Avadaana and Vishvaantara
Jaataka this narration is the longest in Ajanta. Unfortunately, a major
potion of the painting has perished.
The Story: King Sudaasa of Varanasi went on a hunting expedition.
Exhausted, he took rest on a stone. While he was thus sleeping, a
lioness attracted by the king came to him and licked his heel. This
made her pregnant. Her son Saudaasa became the king after his
father's death.
One day his cook by mistake served him human flesh.
Thereafter the lioness's instinct was quickened and he became a cannibal. He would satisfy
his cannibalistic appetite by having his subjects murdered.
In course of time the citizens who did not approve the kings habit, drove him out of
the country. While living in the forest, Saudaasa preyed on travellers.
One day King Sutasoma of Indraprastha, a Bodhisattva incarnation, had gone to
the forest to bathe, where Saudaasa attacked him and took him prisoner. Sutasoma
requested permission for a day's freedom so that he could hear a sermon from an ascetic.
When Sutasoma kept his promise his captor was impressed.
Then Bodhisattva preached the Law of Dharma to Saudaasa, who gave up
cannibalism and joined the Holy Order.

The story starts with King Sudasa of Varanasi going on a hunting expedition (1). Painted at
bottom right between the cell doors, we see the king setting out with beaters and dogs. The
king is identified by the umbrella over his head. The king separated from his retinue,
judged from the absence of umbrella, is hunting deer, shown just left to the previous scene
(2). Above this is the scene where an exhausted king is woken up by a lioness and above
which is the king talking tenderly to the lioness (3). Out of their union was born a boy,
which the lioness brings to the kingdom. The stately return by the lioness and the
astonished citizens are painted to the left of the top of the second cell door (4). On the top
right we see the court in attendance, where the king takes his son through the lioness on his
lap (5). The son, Saudasa, is educated in school and also trained in warfare as shown in the
middle (6). Saudasa becomes the king after the death of his father, and his coronation is
shown on top right of the second cell door (7).
Now an unfortunate incidence takes place. In order to cover his mistake the royal
cook substitutes human flesh for animal meat, and the royal kitchen in which the meal is
cooked is shown above the second cell door (8), and the king having his dinner painted
above this (9). Saudasa now having tasted human flesh demands the same to be served to
him in the future
In the middle and left of the second cell door we see the cook being caught by
people when he was found assaulting people for their flesh (10). In the trial in the court,
narrated just above the previous scene, the king confesses to his cannibalistic practice (11).
The people drive out the king and the king attempts to defend himself, which is painted at
the bottom of the right side of the cell entrance (12). Thus thrown out of his kingdom,
Saudasa lives a life of a cannibal in a forest. Then comes his redemption in the form of
Bodhisattva born as Sutasoma, the king of Indraprastha.
We see Sutasoma going out of his palace with his entourage, painted close to the bottom of
the wall (13). Above this is painted Sutasoma bathing, and Saudasa catching him stealthly
and carrying him on his shoulders (14). Sutasoma requesting to be freed for while to give a
reward to a Brahmin as promised is depicted above the previous scene, but slightly to the
right (15). Sutasoma meets the Brahmin and fulfils his request, which is seen at the bottom
(16). Above the previous scene we have his ministers and women pleading with him not to
return to the cannibal (17). When Sutasoma returns to be killed and eaten, shown above the
cell door, Saudasa feel repentant and decides to leave cannibalism. (18). The reformed
Saudasa returning to his kingdom with state honours is painted on the right contiguous of
the earlier scene (19).







1. Sudasa on
Hunting Trip
2. Sudasa
separated
3. King meets
a Lioness
4. Liness
comes to City
5. Reunion
with Son
6. Saudasas
training
7. Coronation
of Saudasa
8. Royal
Kitchen
9. Saudasa
eats human
Flesh
10. Cook caught
11. King confesses
12. Saudasa
driven out
13. Sutasoma
going to
Forest
14. Sutasoma
caught by
cannibal
Saudasa
15. Sutasoma
seeks some
Time
16. Sutasoma
with Brahmin
18. Sutasoma
reformed
19. Saudasa
returns
DEER HUNT
One of the surviving early scenes of this story is
the scene of Deer Hunt by King Sudasa. It shows
the king of Varanasi setting out on a hunt with his
retinue, accompanied by two other princes and a
pack of dogs. The king is seen pursuing the deer
and, having become separated from his retinue,
entering a forest abounding in wild animals.
Ajanta artist excelled in painting animals. This is
attributed by some to the respect shown to animals
in the Buddhist faith. In addition there could be
another reason. Freed from canonical restrictions
posed by the faith while portraying religious themes, the artist could bring out the best of
creative spirit in him, perhaps. He has given special attention to emotional aspect of the
scene. The nimble movement of the deer is brought out by the animal's abrupt and swift
leap. The wild stare in its eyes betraying the horror of being hunted is marvellously
conveyed through its bulging eyes as it glances back at the approaching horse.

(*** There is painting of a deer in Madanjit Singh. May be we consider including.
Otherwise we may delete this.****)
SUDAASAS SON THROUGH A LIONESS
To King Sudasa was born a son through a lioness during his
stay in the forest. The lioness brought the child to his court,
which scene is depicted here.
King Sudasa is sitting on a chair and holding the baby on
his lap. The lioness is standing proudly in the front feeling
very important. The royal household is looking at the baby
and the lioness with excitement writ on their face.



CORONATION OF SAUDAASA
Saudaasa ascends
the throne on the
death of his father,
Sudasa. The
ceremonial bath is
realistically
portrayed and the
excitement is
unmistakable.
ROYAL KITCHEN OF SAUDAASA

The cook in the royal kitchen, as per story, finds that the meat
prepared by him is taken away by a dog. To tidy the situation
he cuts a chunk of flesh from an impaled man and cooks it for
the king. The royal kitchen is depicted here.
On the left we have the cook drawing flesh from an impaled
man. Bringing the human flesh is shown on its right. Finally
the cooking is being done in the kitchen drawn above. The
cook is seen sitting inside a thatched building preparing the
meal. The composition provides us information regarding
contemporary social habits.
SAUDAASA TASTES HUMAN FLESH

In this scene we see King Saudasa having his royal meal. He is
seen sitting on a low stool and eating from a plate kept on
another low stool. Two persons are looking through a window.
They are likely to be cooks. The maids who are serving him
are seen looking at the king with concern. Perhaps they are
privy to the secret of human flesh in the food!

ARMY DRIVING SAUDAASA TO THE FOREST

Army driving Saudaasa to the Forest is
depicted in the next scenes. We see the king on
the galloping horse. The movement of the
horse and the commotion of the moving foot-
solders are the result of close observation and
draughtsmanship.

(*** Check whether there is a painting for this
scene.***)
MIRACLE OF ASCENDING
THE HEAVEN OF THIRTY-THREE GODS
The Buddha went to the Heaven of Thirty-three Gods, also called Tushita Heaven, at the
invitation of Indra (called Shakra in the Buddhist mythology). There he preached to the
congregation of gods, which included His mother Mahaa-maya. After this, He returned to
the earth by the three-ladder made by Indra. On reaching the world He found a large
assemblage of monks and noblemen waiting to hear His sermon.
The theme is one of the four miracles performed by the Buddha. Two more miracles have
been depicted in Ajanta. His multiplying Himself a thousand-fold, called the Miracle of
Shraavasti, is depicted which painted in Cave 2. The Miracle at Raja-griha, of
subjugation of a mad elephant at Raajagriha is also painted in this cave.
Shasnkaashya, where this miracle is believed to have taken place is known to-day as
Sankissa or Sankasia, in the district of Farukkhabad in the sate of Uttar Pradesh. This is one
of the eight holy places, refered to as attha-mahaa-thaanaani, in the Buddhist faith.
MIRACLE OF ASCENDING THE HEAVEN OF THIRTY-THREE GODS

The miracle is
painted on the left
wall of the ante-
chamber.
The episode is
composed in three
rows. In the top
row, now
damaged, we see
the Buddha
preaching in
heaven. Among
the listeners is His
mother Maya-devi
seeted on His
right, and Indra,
among otehrs on
His left.
In the middle we
see the Buddha
descending. He is
in the usual robe
of a monk, and is accopanied by celestials and Hi disciples.
In the bottom panel, the Master is giving a sermon before a congregation of people on
earth.
This grand mural, where over fifty people participate, is a subject of great
admiration by art critics all over the world.





MAHAA-MAYA LISTENS TO THE SERMON
The top panel is rather
damaged, but some
figures are identifiable.
Close to the Buddha, to
His right, we see a
group of women. The
central figure is believed
to be the mother of the
Buddha Mahaa-maya
listens to the Sermon.
As seen in many panels
in Ajanta, where the
main female character is
depicted in the nude or
in scanty dress, here we
find Maaya-devi
dressed in nakedness.
As in the other
compositions the other
women are fully
clothed, and their
dresses look foreign.

The Buddha descends to the Earth
In the middle panel
the Buddha can be
seen descending to
the earth. He is
accompanied by His
disciples and the
gods. The
Compassionate One
is in His usual
saffron robe.


BUDDHA PREACHES TO THE CONGEGATION
The
bottom row is
better
preserved and
hence taken
for greater
description.
The characters
comprising the
audience are
truly
heterogenous.
In this
panel of we
see the Buddha
preaches to the
Congegation.
He is sitting in
dharma
chakra mudra
(teaching-attitude) exuding warmth and compassion. His throne is ornamented. His chawri-
bearers are Bodhisattva Padmapani and Bodhisattva Avalokiteshvara. There are also flying
two cherubs behind him.
On right are a few people squatting on the ground. All of them look monks, the elderly one
at the centre identified as Shariputta, one of His important disciples. Some more can be
identified: Ananda, His cousin and a disciple, to the right of Shariputra and behind him in
checked upper cloth another disciple Moggallana. There are three on horse-back. The
elephant rider with an umbrella above her is identified as Maya-devi by some.
On left part of the panel is another group of audience. Some of them are foreigners. Among
the people sitting on the floor, in the first row, starting from the left, Ajaatashatru, his father
King Bimbisara of Magadha and King Prasenjita of Koshala. There are also a number of
people with curved swords held high. Behind them, are two foreigners on horses. Above
them, are two caparisoned elephants with raised trunks. The riders may be foreign
statesmen.
A wide variety of textile motifs can be seen in this composition.

MOTHER AND CHILD BEFORE THE BUDDHA
The scene, painted on the rear wall of the ante-chamber to the left of the
door leading to the shrine, shows Yashodhara and Rahula, wife and son
of the Buddha, meeting the Lord, when the latter came abegging to the
palace-door at Kapila-vastu.
This mural is considered one among the best pieces of art at Ajanta. It is
most unfortunate that this fresco has been damaged. Splendid
reproductions of this picture have been made by some of the pioneer
visitors.
On the left is a colossal figure
of the Buddha. The face is now
indistinct. He extends His
begging bowl towards His
wife. In His front stand Rahula
and Yasodhara. The boy looks
at his father stretching his
hands as if seeking his
blessings. He was only a few
days old when Siddharta left them.
Yashodhara is wearing considerable jewellary and one wonders whether she is
attempting to captivate him into family-fold! She looks at her husband with love mingled
with wonder.
The composition is an excellent study of the characters and in draughtsmanship and
colouring. Firstly, the divinity of the Buddha is brought out by drawing him larger than
fife-size. Though one cannot be certain because of the composition is now damaged, it is
likely that the figure of the Buddha stands out against the dark background without sharp
brush work, adding to the ethreality. It is further enhanced by sprinkling of white flowers.
The scene is depicted in relief sculpture in Cave 19.



MATRI-POSHAKA JAATAKA
Story: Bodhisattva was born as a magnificent white elephant in the Himalayas. His both the
parents were blind and the white elephant took care of them with utmost devotion.
King Brahma-datta of Varanasi had lost his royal elephant and was prepared to pay
a give amount of money to anyone who helps him to get a suitable elephant. A greedy
person, who was helped by the white elephant when he lost his way in the forest, informed
the king of the beautiful mighty elephant he saw in the Himalayas, expecting hefty reward.
A happy king sent his army to catch the animal. The elephant, in spite of his might,
allowed himself to be bound and brought to Varanasi. But in the royal stable where he was
housed he refused to eat the sumptuous food offered to him. The astonished kind wanted to
know the reason. He let loose the elephant and followed the same along with his solders.
On reaching the forest the elephant met his old, blind parents and caressed them
lovingly. The king was overjoyed with the devotion shown by the animal to his parents
allowed him free in the forest itself.

The narration in this cave varies slightly from the jataka story. In the jaataka, the elephant
was supporting only his blind mother, and hence the title. (maatri-poshaka means caring-
for-the-mother). But in the Ajanta narration the elephant was nursing both his mother and
father.
(***Location to be given- Page 55**) Maatri-poshaka Jaataka is an exquisite
composition painted on rear wall of the cave between the first and the second cell-doors
right of the ante-chamber.

The story is
narrated in two
rows. It starts in
the left of the top
row with the
person who was
rescued by the
elephant giving out
the whereabouts of
the white elephant
to the king (1). The
scene of the
captured elephant
being led to the
city is painted at
the left bottom of
the mural (2). The
elephant refusing
to eat is shown on
the right of the top
row (3). In this
scene the king,
seen at the centre of the panel, is supervising the feeding the elephant. To his right half
hidden by the wall, is peeping the queen, perhaps watching the strange spectacle. The maid
further to the right is carrying some edibles on a tray. Before the brooding elephant is seen
some food in a large vessel and also sugar-cane are lying about.
The release animal walking majestically towards the forest is pictured above the captured
elephant (4) and the happy reunion is found to the right of the bottom row (5).
The lower row is in a reasonable state of preservation.
The importance of the composition lies in the success of the Ajanta artist in displaying what
one would call as human feelings to animals. We have the white elephant painted four times,
each in different emotional situations. When he was caught and brought to Varanasi, he was
moving against his wish. When he refuses food his determination is evident. Next on let
loose, he trots happily to meet his parents. When he meets his parents his joy knows no
bounds.
Here is another example of grouping scenes based on the location and not on chronology. In
the upper row we have two scenes that took place in the palace. Forest scenes are painted
below.
CAPTURE, FREEDOM AND REUNION
At the left bottom of the lower row the
captured elephant is led to Varanasi. He was
brought under control with strong ropes tied
around his hind legs. The elephant is
preceded by two horse-riders and followed
by a prince with an umbrella over his head.
The elephant being let loose and
passing through a gateway can be seen in
the middle of the bottom row. The animal
happy gait of the elephant is unmistakable.
The animal is preceded by a few solders and followed by a horse rider and a few foot-
solders.
Final scene of the happy reunion with blind parents is painted on the right of the
bottom row. We see the white elephant sprinkling water over his parents, and announcing
his return. Being blind the parents happily caress with their trunks their son.

MAHISHA JAATAKA
The Story: In one of his previous births, the Bodhisathva was born as a buffalo and lived
in the Himalayas. In the same forest lived a foolish monkey, whose normal pranks
included teasing the venerable buffalo. The benevolent buffalo tolerated all such
mischief.
One day a savage buffalo was standing in the place usually occupied by the
benevolent buffalo. Without realising it the monkey was upto his usual tricks. The buffalo
did not take kindly to the teasing of the monkey, threw him and trampled upon him, in
spite of the pleadings by the unfortunate monkey. (mahisha = buffalo)

(*** Line drawing to be added. Page 56.***) The story is painted in two
scenes on the right hand wall of the rear corridor, to the left of the cell door.
The first scene is may be found at the bottom. The mischievous
monkey is troubling the kind-hearted buffalo by sitting oh his back and
closing his eyes.
The second scene, the monkey is in trouble for he has teased a
wrong buffalo, which has reacted violently to the monkeys pranks. The
painting shows the monkey, being thrown down by the angry buffalo, pleading with his
tormentor to forgive him.
The depiction of the scenes and also their
animal characters in them show that the
Ajanta artist treated the animal characters with
vigour, spontaneity and energy.

SIMHALA AVADAANA
The Story: Simhala was a courageous son of a wealthy merchant in the kingdom of Simha-
kalpa. Against the wishes of his father, Simhala undertook a sea-voyage and was
shipwrecked. He and the five hundred merchants, who were travelling with him, were cast
upon the shores of an island called Taamra-dveepa. The island was inhabited by man-
eating raakshasi-s. They lured the stranded merchants disguising themselves as beautiful
women only to devour them taking their original form in the night. Bodhisattva in the form
of a horse, called Bahala, took most of them to safety, by letting them cling to his body
while he flew out of the island.
In the meantime, one of the raakshasi-s managed to reach Simha-kalpa and went to
King Simha-kesari in the form of a beautiful maiden. She had a child with her, and
complained that Simhala had married her and the child was his, and he had now deserted
her. This was denied by Simhala. But, enchanted by her beauty, the king took her into his
harem, in spite of the advice against this. The raakshasi, having managed to enter the
palace summoned the other raakshasi-s from Taamra-dveepa. They finally killed the king
and other inhabitants of the palace and ate them up.
The terrified people of Simha-kalpa made Simhala their king. He raised a huge
army and invaded Taamra-dveepa. In the ensuing battle Simhala defeated the raakshasi-s.
For this reason the island was renamed as Simhala-dveepa (the present day Sri Lanka).

This composition is a landmark in the history of Indian paintings. This is the grandest
painting in Ajanta and represents, along with those painted in the Hariti shrine of Cave 2,
peak of classical period. In very simple, natural style is narrated a whole range of emotions,
from pleasures of love and affection to turmoil of war.
Characteristic to the classical style, there is no exaggeration. Women wear simple
dresses revealing their slender bodies, their hair-style generally consist of a ribbon tied
elegantly with a few flowers tucked in the hair, and ornaments restricted to a row of
necklace or two. The costumes are not intricate, and for that reason freely reveal their
slender bodies. Men are depicted heroic. Both the men and women are generally
represented as definite ethnic types, with a fair or reddish-brown complexion.
Simhala Avadaana covers the entire
wall of the right hand corridor and
continues on the upper part of the
pilaster between this corridor and the
one behind it.





The narration starts between the 4
th
and 5
th
cell doors at he bottom. The badly damaged
scene depicts the stranding of the ship in which Simhala was travelling (1). The island,
called Tamradvipa, is inhabited by rakshasis. In the guise beautiful maidens they entice the
merchants and devour them later. This is shown above the earlier scene. Such a maiden
with her would-be victim (2) and similar couples inside s series of pavilions (3) are such
scenes. Outside the pavilions the maidens unmask their guise and devour the victims (4).
Not falling prey to the rakshasis Simhala and some of his companions escape to their
country, Simhakalpa. This is made possible by a divine horse. Above the 4
th
and 5
th
cell
doors we see Simhala riding a white horse and his companions holding on to the body of
the horse (5).
Now the story shifts to Simhakalpa. A rakshasi, being angry with the escape of
Simahala, follows him and entices the king in the guise of a beautiful maiden (6). Having
gained the confidence of the king the rakshasi establishes herself in the palace, which is a
three-storied building. In the night she, along with her fellow-rakshasis, goes about killing
the inmates and eating them on the top floor (7). Then arrives Simhala who drives all the
devils. This takes place on the first floor (8). On the ground floor the ministers brood over
the empty throne and discuss (9).
Simhala sets out with his army to conquer the land of rakshasis and destroy them
(10). Simhalas army land in Tamradvipa (11) and in the ensuing battle the rakshasis are
killed (12). In the end the people decide to crown Simhala and the coronation takes place
(13).

2
n
d

C
e
l
l

D
o
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r

3
r
d

C
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l
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D
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4
t
h

C
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D
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5
t
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C
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D
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1
3
2
4
5
6 7
8
9
13
10
11
12
RAAKSHASI-S AS BEAUTIFUL MAIDENS


The ship gets stranded in Tamradvipa, an island inhabited by man-eating rakshasis. The
merchants who are forced to land there were ignorant of this, but were surprised to find no
males there.
These rakshasis take the garb of beautiful maidens, entice the stranded merchants
and eat them in the night. A number of rakshasis disguised as seductive beauties are
painted in this composition.
MERRY COUPLES UNDER TENTS
The raakshasi-s dally with the beguiled merchants inside well-decorated pavilions. Six or
seven such decorated pavilions are shown, inside which we see couples indulging in
revelry. The scenes are depicted in zest.
One of them is Merry Couples under
Tents being a sample for the bhava
madhura (tender-feeling). The raakshasi-
s are shown inside pavilions as beautiful
women and outside in their fearsome
form.
CANNIBALISTIC RAAKSHASI-S
When the merchants come under their spell, Cannibalistic Raakshasi-s take their real
form and kill them with their curved daggers and dreadful fangs, and devour their flesh. On
the left a pale-coloured raakshasi is seen with a severed leg in her hand about to eat the
same. The one on the right is about to attack a merchant.
ESCAPE OF SIMHALA
Arrival of Bodhisattva as a horse: In the
meantime Bodhisattva arrives on the scene in
the form of a horse called Bahala.








The Escape: Apprehending danger
and accepting the offer of the
Bodhisattva horse, Escape of
Simhala along with those
merchants who manage to cling to
the horse.






The flight of the horse is shown above the scenes of revelry over the fourth cell-door.
INFATUATED KING
Having lost their prey, one of the raakshasi-s manages to come to Simha-kalpa. Taking the
form of a ravishing beauty, she approaches the court of King Simha-kesari.
This is one of the most beautiful compositions in the history of Indian painting. The
panel is unfortunately badly damaged.
On the left we see the raakshasi arriving as a beauty of unsurpassable elegance. She
is seen standing on a lotus with a large retinue of attendants carrying her toilet. The
procession includes an elephant and other paraphernalia. We now move to the right. Within
the pavilion the king is seen seated with the usual bolster at the back.
The king becomes enamoured of her beauty and takes her as his wife. But
obviously the old minister had advised him against this act. The minister can be seen to the
left of the king with his chin on a walking stick, suggesting that he failed in his attempt to
dissuade the king from his hasty action. There are two court women at the rear window and
two peeping from behind a partition, curiosity writ large on their faces.

The next scene is enacted beyond the pillar that is directly behind the brooding minister.
Since the king has admitted the raakshasi-in-disguise we see a procession of damsels
carrying royal presents for the wedding. Lastly, beyond the last pillar on the right we see
the king with her newly married queen, who stands by his left with a child. We see the old
minister still sulking at the turn of events.






MASSACRE IN THE PALACE
Having managed to enter the palace the raakshasi-in-disguise summons her friends from
Taamra-dveepa. The result is the Massacre in the Palace, painted on the extreme left of
the wall.
The location is the three-storey palace
and the gruesome incident takes place on the
top floor. The bedchamber is in the centre with
two rooms on either side.
We may quickly go through the scenes
for they are important. They show how the
Ajanta artist can compose a scene of stark
violence, with out for the time being discussing
its appropriateness of presenting such
loathsome scene in such vivid details. There
are not many scenes which portray violence in
Ajanta.
On the left (shown in
the line drawing, and not in
the colour reproduction) a
red complexioned raakshasi
is seen holding the hair of a
hapless woman and is about
to cut it off. In the central
chamber another has thrown
down a woman and is
pressing her down with her
foot. The one on the room
on the right has plunged a
dagger into the abdomen of
a victim. Just above this are
found two women in panic,
one covering her eyes and
the other holding her hands
to her breast.
The king losing his
life in the attack is not
shown in the mural.
SIMHALA DIVES OUT RAKSHASIS
The next scene is enacted in the first floor of the palace. Simhala comes into the scene and,
after heavy fighting in which many are dead, chases the demonesses out to the relief of the
people. Having found a place for sumptuous food we see Vultures on the Gate and
hovering over the bloody scene.
The figure of Simhala is obliterated, but we see the rakshasis running away in great
panic. Death is evident as we see vulture having a field day.
ARMY GETS READY
The panic-stricken people of Simha-kalpa crown Simhala as their king and request him to
destroy the raakshasi-s. Simhala, the king, prepares war against the raakshasi-s and the
next scene is of Army gets Ready.
SIMHALA RIDES A WHITE ELEPHANT
Simhala Avadaana - 11
Cave 17; 5th century AD
The last portion, painted between the second and third cell-doors, is important for its
magnificent composition, and, fortunately, because it is in a reasonable state of
preservation. On the top-left, we find Simhala rides a white Elephant with two generals
riding on elephants beside him. Over the head of Simhala is the royal umbrella, signifying
that he is now the king. The slanting spears, the waving flags, the forward lean of the
elephant riders and the curved heads and huddled trunks of the elephants, all express the
emotion of movement.
Below this scene the army is seen landing and at the bottom we see the cavalry
landing. To its right is the scene showing the landing of Simhala and his generals, all riding
caparisoned elephants, reaching the shore, the riders shooting the raakshasis with bows and
arrows. The royal umbrella, festoons and spearheads form a gorgeous pattern. Moving to
the right we see the fierce fighting, leading to the surrender of the raakshasis. Some of
these demons can be seen with folded arms and some others touching the ground, denoting
surrender.
The final scene, portrayed above the surrendering raakshasis, is the coronation of Simhala
and the royal celebration.
LADY AT HER TOILET
On the walls in Ajanta we find religious theme painted. The ceilings are decorated with
secular themes. Occasionally one finds paintings which can be called secular, as we are not
able to associate them to any religious theme. Lady at her Toilet, a solo-picture, is one
such painting. Fortunately it has escaped the ravages of time. It is painted on the upper part
of the pilaster between the front and right corridors.
It presents an aristocratic lady at
her toilet with maids-in-
attendance on both side and a
female dwarf further down. The
central lady wears address that is
almost transparent. The existence
of this almost invisible fabric is
deduced from the long folds of the
lower garment. The lady is
adorned with elaborate jewellery
and she holds a mirror in her left
hand and a flower in her right.
The beads of the pearl necklace
have been drawn with thick
pigment, as in an oil-painting, so
that the gems are raised in relief. When a torch light shorn at an angle on the beads they
sparkle like pearls. The lady has an unusually slender waist and with the right foot placed
somewhat awkwardly.
Indian art prefers to use symbolism, drawn mainly from animals and plants. This is true in
Indian literature also. For example, the legs of the ladies in this painting come down like
the trunks of a banana tree, and the feet resemble leaves of trees. This simile pada-pallava
(feet-like-leaves) was what the artist attempted, and not the feet made of bones and
muscles.
It is worth noting that there is no monotony in this composition in terms of body
posture. Interestingly the location is not a parlour, but in the open, in a grove, in the
background of hills. The colour scheme for the background creates a mystical ambience.

SIBI JAATAKA
The Story: King Sibi, ruler of Aritthapura, was famous all over the world for his observing
the Buddhist virtues steadfast. He distributed alms generously. Towards he built six
monasteries, one at each of the citys gates, from where alms were distributed every day.
Lord Indra wanted to test his generocity. He came to the king in the guise of a blind
brahmin and sought the kings eyes as alms. Much to the protest of his subjects, the king
got his eyes gouged and presented to the brahmin gladly.

The story of the generous King Siibi is popular in the Hindu and Jaina lore.
SIBI JAATAKA
The story of the Bodhisattva born as King Sibi who was hailed for his
generosity is painted in this cave also. We have seen in the Sibi
Jaataka of Cave 1, the king cut off a part of his own flesh to a hawk to
save a pigeon. In this episode the king gives away his eyes to a blind
Brahmin.
The episode is painted on the pilaster between the front and the right
corridors and continued on the on the wall of the right corridor. The
painting is greatly damaged, and only a part is now extant.


King Sibi has constructed a number
of chowltries to feed the poor. One
such alms-centres is shown to the
right of the cell door (1). This scene
is in reasonable state of
preservation. Famous for giving
any thing a supplicant asks, Sibi is
tested by Indra, who in the form of
a blind Brahmin demands his eyes.
The scene, where King Sibi pulls
out his eyes, is shown below the
earlier scene (2). In this damaged
scene we can still see just enough to
follow the sequence. The Brahmin
who asked for the eyes is seen on
the left, with another Brahmin,
obviously his help. On the right King Sibi is sitting on a low throne. He is supporting his
body with his right-hand and is covering his left eye with the other hand. He is under
great pain. Tears and blood can be seen dripping from the exposed right eye. There are a
number of women watching with sorrow. One on the left of the king is clearing copiuos
tears with a towel.
The rest of the story is narrated on the left side of the cell door. The narration on
the pilaster and on the lower part of the wall is not easily identifiable. They might refer
the blind kings life in the forest and Indra causing to return of his sight. His triumphant
return to his kingdom is somewhat discernable (3). Here the subjects, overjoyed that their
benevolent king is returning, receive him with state honours.


1. An Alms-
centre
2. King gives
away his Eyes
3. Kings
triumphant
Return
Alms-centre
Alms-centre is one of the six
halls of alms built by the king
to distribute alms to the needy.
On to the right a person is
bringing some stock of grain
for distribution. At the centre
a royal attendant is pouring
grains onto a piece of cloth
held by a woman, who is
happy at receiving the same.
One behind her is waiting for
his turn. On the left there is a
long queue of persons waiting
and watching. In the
background is a lady in
monastic dress is holding a
tray on her left hand. The
whole scene is in fully
animated.
The scene depicts contemporary wooden architecture, and is shown realistically in normal
perspective.
Wailing Women
There are two women who are wailing. The former, on the extreme right, is seen beating
her chest (1), and the pain in the other woman (2) shown behind the king, is her head in her
hand, a stance exhibiting grief. Wailing women at the ordeal of their king are shown in Sibi
Jataka narrated in Cave 1, and comparison of the two scenes would be rewarding.
The artist was successful in creating a sorrowful mood that pervades the whole
atmosphere.
(** We may consider including these two women into a chapter to be called Women of Ajanta. We may,
thus, create a few more chapters like Animals in Ajanta.***)
1
2
MRIGA JAATAKA
The Story: Once the Bodhisattva was born as a Golden Deer. One day the deer found a
man drowning. It swam across and saved him. When the man thanked it, the deer requested
him to keep its existence secret. On reaching his place, Varanasi, he heard that the King of
Varanasi had offered a reward for anyone who could tell him about the Golden Deer. The
greedy person guided the king to the abode of the deer. Before the king could shoot it, the
deer spoke, and the king was enchanted by its sweet voice. On hearing that the man whom
it had saved has treacherously betrayed the Golden Deer, the king decided to punish the
man with death. The deer intervened and asked for mercy. The king, then, took the Golden
Deer to Varanasi and requested it to give a sermon to his wife.
An episode from
Mriga Jaataka covers
the front wall to the
left of the window.
The story
starts from top right,
where the queen asks
for a golden deer (1).
The earlier scenes are
either not painted or
fully damaged. In this
badly obliterated
scene, we can barely
see the king sitting in
a stool. A drummer
announces reward by
the king to any one
who can lead to a
golden deer (2). The
drummer can be seen
directly below the
king of the earlier
scene. To the left of
the drummer a number
of citizens are having
animated discussion
on the reward (3).
The next scene is
depicted above the previous one where the ungrateful man informing the king about
sighting a golden deer (4). The king is sitting cross-legged on a platform.
For the next scene we must go to the bottom. Here we see the king with his
entourage riding into the forest (5). On sighting the golden deer an escort attempts to catch
the deer. To the astonishment of the king, hands of the person who attempted to grab the
deer is cut off (6). Then the king comes to know that the deer is none other than
Bodhisattva, Himself. It may be noted that the Ajanta artist, to signify the forest location,
1. Queen asks
for Golden
Deer
2. Drummer
annonces
3. Citizens
discuss
4. King is
informed
5. King rides
into Forest
6. Grabbers
hands cut off
7. Deer is
taken in a
Chariot
8. King
follows the
Deer into his
Kingdom
he has painted a lion in its lire,
The scenes that follow are painted in the middle row. The overjoyed king invites
the golden deer to his kingdom. The deer is taken in a golden chariot (7) with full state
honours. The king and his entourage follow the chariot (8).

Very often episodes of a story are grouped according to the place of their occurrence and
not according to their sequence of occurrence as can be seen in this narration. For example,
on the top row are grouped those scenes which took place in the palace, and the forest
scenes depicted in the bottom row. This aspect is the continuation of this tradition from the
pre-Christian era paintings like the Shad-danta Jaataka of Cave 10.
KING ARRIVES IN THE FOREST
In the bottom of the panel we
see the king arrives in the
forest with his retinue, the
abode of the Golden Deer.
The usual excitement
associated with a hunting
expedition is portrayed very
effectively. Movement in the
characters is evident,
particularly, the majestic trot
of the royal horse.
HUNTER ATTEMPTS TO CAPTURE THE DEER
Here we see a red
complexioned hunter
attempting to capture the
deer. In the process he
finds to his horror his
hands chopped off. The
chopped hands can be
seen just in front of the
deer.
The forest location is understood by thick vegetation in the lower portion.
RETURN OF THE KING
The king, seeing the miracle, comes to
know the truth regarding the deer that
it is none other than the Bodhisattva
Himself. Now we see the return of the
king with the Golden Deer on a
chariot with great honour.
The ceremonial procession of
the king along with his entourage
follows the chariot of the Golden
Deer. The king is on a horse with a
royal umbrella in attendance.
GOLDEN DEER CARRIED ON A CHARIOT
Golden Deer carried on a
Chariot is majestic and
composed