South Indian Inscriptions

ARCHITECTURE SCULPTURE AND PAINTING

king of Magadha, his son Ajātaśatru, his queen and some other chiefs with round or conical head-dresses. One of them who has prominent mustaches and a beard and also a conical head-dress may represent a Śaka or Kushāṇa chief, such as may occasionally have been noticed at the Vākāṭaka court. To the left of the Buddha are several monks, of whom two who are prominent may be identified with Śāriputra and Maudgalyāyana. The eyes of all are turned towards the Buddha who is expounding the Law. The monk next to Śāriputra may be Ānanda, the chief disciple of the Buddha, who, from the gestures of his hand, seems to be answering the questions put to him by the Buddha¹. The artist has been able to paint this great composition with perfect case and consummate skill.

... On the back wall of the antarāla to the left of the shrine door, there is there is the well-known painting of the Buddha greeted by his wife and son, Yaśōdharā and Rāhula². Having received the intimation that the Buddha has come to Kapilavastu and may visit the palace in the course of the begging round, Yaśōdharā has put on her best garments and ornaments and stands at the door with her son Rāhula, who also is similar dressed, expecting the arrival of the Buddha. In the present fresco³ the Buddha is shown in a very large size, suggestive of his spiritual greatness. The figures of Yaśōdharā and Rāhula are purposely drawn much smaller in size as compared with him. The Buddha has matted hair on his head and a halo round his face. He is clad in a reddish long gown and carries a green begging bowl in his right hand. His head is slightly inclined towards Yaśōdharā. His face shows philosophic calm, mingled with compassion for Yaśōdharā, whom he finds still attached to worldly life. Yaśōdharā has placed Rāhula in front, suggesting thereby that for his sake, if not for hers, the Buddha should come back to the householder’s life. Rāhula has spread both his hands to ask for his heritage as instructed. Both he and Yaśōdharā have fixed their eyes on the Buddha’s face, anxiously awaiting to hear what he would say to them. A vidyādhara has held an umbrella over the Buddha’s head and flowers are being showered over him from the sky. This painting has evoked highest praise for its sublimity, suggestiveness and skilful delineation of human emotion.

... On the right wall of the antarāla there is a painting of the miracle which the Buddha performed at Śrāvastī at the request of king Bimbisāra⁴. Accepting the challenge of some naked śramaṇas who wanted to cause a schism in the Saṅgha, the Buddha assumed numerous forms to confound his opponents. The artist has shown considerable humour in drawing the burly figures of the naked śramaṇas.

... On the rear wall of the back corridor to the right of the antarāla are painted the Following Jātakas in order-the Śarabha Jātaka, the Mātṛipōshaka Jātaka, the Matsya Jātaka and the Syāma Jātaka⁵. The story of the last of these is similar to that of Śrāvaṇa in the Rāmāyaṇa of Vālmīki⁶. Next, the Mahisha Jātaka is painted on the right wall of the back Corridor⁷.

...On the whole wall of the right corridor is painted the story of the Siṁhala Avadāna⁸. The story is told in the Divyāvadāna, but, as Mr. Yazdani has shown, the frescoes here
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¹ Ajanta, Part IV, pl. XXXVIII-XL.
² Ibid., Part IV, pl. XL-XLI.
³ See Plate M.
⁴ Ajanta, Part IV, pl. XLIII.
⁵ Ibid., Part IV, plates XLIV-XLIX.
⁶ Rāmāyaṇa, II, 63, vv. 22 f.
⁷ Ajanta, Part IV, pl. LI a.
⁸ Ibid., Part IV, plates LI b-LXIV a.