South Indian Inscriptions

ARCHITECTURE SCULPTURE AND PAINTING

the walls of the right and left corridor, and two on each side of the back door of the hall. It is also provided with a fine easterncistern of water which is approached by a flight of steps between this cave and Cave XVI. It is specifically mentioned in the inscription¹ at the left end of the verandah.

... As stated before, this cave was excavated by a prince who was overwhelmed with sorrow at the premature death of his younger brother. It is stated in the afore-mentioned inscription that he used to wait upon persons who possessed great learning, liberality, compassion, contentment, friendship, forgiveness, courage and wisdom. It is therefore not surpising that the paintings in the cave excavated by him should illustrate the tales preaching these virtues. We have seen above that the frescoes in Cave XVI mostly describe the incidents in the last life of the Buddha. This cave contains very few paintings of that type, while it abounds with those describing the past lives of the Buddha, in which one or other of the afore-mentioned virtues was exemplified. The paintings may also have been utilised by the monks in illustrating their sermons.

... Cave XVII contains now more paintings than any other cave at Ajaṇṭā, and most of them are in a fairly good condition. It is not possible to describe them all in detail, but we may indicate their position briefly and point out the salient features of a few of them.

... On the back wall of the verandah to the left of the main door there are some paintings which are supposed to illustrate the Viśvantara Jātaka, though there are more and detailed pictures of this Jātaka inside the Hall. There are indeed some incidents portrayed here which support this identification, viz., the distribution of gifts including costly necklaces to suppliants, the exile of a prince and a princess (Viśvantara and Mādrī), the flying Indra, who, according to the story, came to Viśvantara to ask for the gift of his wife, etc. The picture of flying Indra, gandharvas and apsarases is specially noteworthy. Indra is fair in complexion and has a noble mien. He wears a high crown and beautiful jewelled necklaces, armlets and bracelets. His vaikakshaka is thrown backward as he flies through the air. He wears an ardhōruka which is fastened round his waist by means of a beautiful jewelled kaṭibandha with a dagger and a sword fixed in it. The clouds through which he and his attendants fly are shown by means of white and blue curves and patches. This is one of the most fascinating small paintings at Ajaṇṭā and well illustrates the artist’s skill in portraying flying figures.²

...On the back of the verandah, above the two windows to the right of the main door, is painted an incident in the life of the Buddha, in which he calmed a furious elephant named Nālāgiri which was let loose against him in Rājagṛiha at the instigation of Dēvadatta. The infuriated elephant running through the streets of Rājagṛiha, demolishing wooden structures, lifting up men and animals with its trunk and causing consternation among the people, is vividly portrayed. In the next scene it is seen kneeling down meekly before the Buddha, who blesses it with his hand. The men and women in the shops and galleries of the houses nearby are filled with amazement and reverentially fold their hands.^3, The whole scene is very realistic and testifies to the imagination and skill of the artist.

...On the left wall of the verandah, above the cell-door, is painted a huge wheel which was supposed to represent the Zodiac and so this cave was called ‘the Zodiac Cave’ The correct view, however, is that it is the wheel of Saṁsāra (worldly existence). In
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¹ No. 27, v. 26.
² Ajanta, Part III, pl. LXVII.
³ Ibid., Part III, pl. LXXIV.