I

GOV J.;R.NMENT 01<' INDIA

ARCHIEOLOGIOAL SURVEY OF INDIA
o.C.A. 1i
-

CENTRAL
ARCHJEOLOGICAL
LIBRARY











'








~






A] ANT A FRESCOES
BEING
REPRODUCTIONS IN COLOUR AND MONOCHROME OF
FRESCOES IN SOME OF THE CAVES AT AJANTA
AFTER COPIES TAKEN IN THE YEARS
1909-1911
BY LADY HERRING HAM AND HER ASSIST ANTS
. 39915
WITH INTRODUCTORY ESSAYS BY VARIOUS MEMBERS
OF THE
751-730934
Herr-
INDIA SOCIETY
HUMPHREY MILFORD
OXFORD UNIVERSITY PRESS
LONDON EDINBURGH GLASGOW NEW YORK TORONTO
MELBOURNE BOMBAY

I

, .


t
t

ARCHAEOI l...; JfiAl
18RAHY. NEW 1.h 11
"' o. .. .. .. ,_


Hdt.
@


,

"' .



'
TO
COLONEL HIS HIGHI'\ESS
A$AF jAH, MUZAFFARU LMULK WA 'L MAMALIK,
NI?AMUD-DAULA, NAWAB MlR
SIR 'ALl KHAN BAHADUR, FATI.IJAXG, G.C.S.I.,
NIZAM OF HAIDARABAD.
THIS VOLUME IS
WITH HIS HIGH NESS'S
GRATEFULLY INSCRIBED.
.\





. .










PREFACE
IN this volwne Lady Herringham's copies of some of the paintings in the caves of .\janta,
situated on the northern border of Hyclerabad, Deccan, are reproduced on behalf of the I ndia Society,
whose property they arc. The pictures, which are in full scale, arc at present exhibited at the Indian
Section of the Victoria and Albert i\Iuseum, South Kensington. They were presented to the Society in
1912, and were fir:;t shown at the Festival of Empire Exhibition held at the Crystal Palace in that ycnr.
For that occasion Lady Hcrringham compiled the account which now appears below her name, and to
which is added a note by Miss Larchcr, who worked with her.
The story of the successive attempts to bring these famous pictures within reach of the public, their
place in the art of the East and of the world generally, and various other points of interest connected
with painted cave-temple::. of India, are discussed below in a series of short CS!>.'l)"S by members of the
Society.
The reproductions in colour are the work of i\Ir. Emery walker and the monochromes of the Oxford
University Press. The methods ot reproduction to be applied to each subject have been chosen by
Mr. \V. Rothcnstcin and Prof. \V. R. Lethaby. Mr. F. W. Thomas and i\l r. T. \V. Rolleston have arranged
the Table of Plate:; and corrected the proofs of the letterpress, and 1\ll r. L. Binyon the proofs of the plates.
Mr. A. H. Fox-Strangways has acted as general editor.
While thanking those who have given time and trouble to this work, the Committee think it right
to say that such a publication would have been impossible without ,cry generous donations. The names
of the donors are: His Highness the i\Iaharaja of i\Iysore, Sir \Vilmot and Lady IIerringharn, Dr. Victor
de Goloubew, 1\l rs. Sophie Cunlifl"e Jay, and Mr. C. L. Rutherston. No extensive appe.."tt has been
made, since certain friend::. and relatives of Lady llcrringharn have taken upon them:::.ehes tl1e greater
portion of the expenses, in order that the undertaking might be worthily executed as a memorial of her
work for India. The Committee have also to acknowledge the support of lhe Governments of India and
Ceylon, which have been good enough lo take a large number of copies.
His Highness the Nizam of Ilyderabad has been pleased to accept the dedication, offered in token of
a sincere appreciation of the kindly protection and :;ubstantial aid which Lady llerringham's expedition
received from his illustrious predecessor.
The volume is presented to members of the Society as a publication for the years 1914 1915-
ro8 LEXIIAM Gt\ROt::>S.
Lo:-oox, W.,
A ugusl, 1915 .
By order of the Committee of the. India Society,
JOHN DE LA VALETTE,
Honorary Scadar;.

'


. .

l










'




'


-1:
....
"
.....
fj "<!-
t.:..l
"
>
~
~
-t:
~
v
w ~
- l
!---
~
-
~
0 ""'
-
-
~
;::;
u.
w ~
.:::
>
..
<::
<j
~
..J
"'
<
::::
.
:J:::
l
t.:J
z
t.:..l
c;
~
"""
E
0
..
t&.


\





1
TABLE OF CONTEXTS
TABLE OF PLATES
THE }.lTANAS REFERRED TO IN THE TABLE OF PLATES
NOTE ON PREVIOUS COPY!NGS OF TilE FRESCOES. Bv Tilt: Enrroll
THE EXPEDITION. B1 SIR \Vn .\101'
NOTE ON THE HISTORY CHARACTER OF THE Bv L.1ov HERtw>CIIAM
:\OTE 0!\ TilE ' IETHOD OF COPYING. lh 'll!-, L.\RCHR
THE PLACE 01 THE. AJANTA PAINTINGS IN EASTERN ART. Bv LAUilENI:l
THE IMPORT OF TilE AJANTA PAINTINGS IN THE HISTORY OF ART. Bv WILLIAM
PACt:
9
IJ
'5
t6
20
21
ROTIIJ>NSTEIN
22
BUDDHIST CAVE-TEMPLES AXO THEI R PAINTINGS. Bv F. \V. TnoM.\5.
SHORT BIBLIOGRAPHY OF WORKS TREATii\G OF Ai\CIENT IND!AX PAI'{TIXG (SCULPTURE
:'\OT EXPRESSLY EXCLUDED), OR OF BUDDHIST ICO!\OGRAPIIY OR MYTHOLOGY AS
REPRESENTED I:'\ ART. Bv F. \\', TuoMA' 27

1





. '


\
0







'

r

)



9
TABLE OF PLATES
REPRODUCTIONS IN COLOUR
Phlr. S6;i.t.
I () Kll\G BntBI!':.\R.\, A:-:l> AT
TE.'IDA:-: r:> TEIJ \\I Till:-: A
l'ALACE PAVIUON. (From the tory of
the Q\Jge elephnt Nllftgiri, t.o.med b)
Buddha.)
{
(}
11
(J)
GROUP 01' fLYING FIGURES (Apsanrrt
"ith Gun./han.z).
Gtt0l.1'
Ill. (4} ROYAL SCEl\"E: p3b.ce J>3'ilion
with prince, prince.., and attendants.
IV. (5} DE1'AIL I $101-J.lTAKA (l'\o. 499 :
see monochrome XVI .1nd XXXIX (47) ).
V. (6) TIIE TOILET: " richly jewelled printb$
with her maid<n .
1
(7) ADORATION GROUP: mother and child
before Buddha.
VI.
(8) j.lTAK'} SO:N WITll UORSEMAN,
J'Olil, &c. (not identified).
VII. (9) ROYAL SII'ORU BESTOWAL: proloall)
a ponion of the <Cremony suending a king'
recognition of hi' heir. (O.tail of mono-
chrome XX\'1, Vdranfnra-jJ/ala.)
VIII. (to) DEPARTURl OF THE BODIIISATT\'A
AS A DEER in a chariot. (Probably lrorn
the RurujJiaia, No. 482.)
IX. ( n) THE CHAURT-UEARER: a girl with a fly
8apper.
X. (12} OFFERING t.OTUS-FLOWERS TO THE
BODHISA TT\' A (Avalokitdnn I: detail
in XXX (33) and XXXI (3t)}.
XI. (13) THE GREAT Ut.:OOIIA (or rather tl1c
A '"'lokite!=; the maj<>tit
figure hllS also b<en Identified with lndro).
XII. ( 4) LUSTRATION 01' A PRINCE in a royal
oonsecrntionhall (A 6/,ilul".Jiila ).
XIII. (os) WORSIIIPPlNG BUDDHA: a
group of 6gur .. uthin a palace pra\ilion, and
deote.:s
XIV. (o6) A PALACE SCt:NE (not identified)
XV. ('7) KING, QUJ..I:N, ,\'oil) ATTJ::NOAN'J'S IN
A P:\LALE I',\ \'l LION.

Ptht.
C.trt X I'll. back .. -..n, right end.
fiths. ll; Burges., p. 64, >1.
Grif
Cmt .'\VII. Verandah, oock wnll, right of door.
llurgtu, p. 64, x.
c .n X r ll. Right or preced.nJ;". Gtiffiths, G, 6g. 18,
and p. 36; Burge:s...., p. 64, x, and pi. nu, t.
C.m XI'EI. \'ernndoh, ocr left side door and
window. Griflit!IS, 11. 5S' , C, and pp. 35-6;
Burg-, I' 63, YL
Catt X I' I J. Right side of ball, right corner. Grif
fltla, Q'; Burgess, pp. 75-6, 1.1\\
Cau X I'll. Right side of hall, upper portion of
pilasttr. Griffiths, pi. 55, r, and p. 35;
P 74, u.
Cart X V 11. Antechamber wall, left of $brine door.
Grifliths, 0 and fig. 76; Burgess, p. 69. xnu.
C.nt X 1'1 I. Back wall ofht.ll, right corner. Grillitbs,
K;,Burgess, p. 71,xxxvau.
Cat't X I'll. Left wall ofball,lefi corner. Griffithl',
pi. 64', S, and p. 37; Durgeso, p. 65, nw.
Carr X I' I I. Front wall or haD, left corner. Griftitbs,
pi. 83' , T, andp. 39; Burgcn, PP.76-7, L\,
Ccrrt X VII. PiUar in left corner. Grlffiths, pi. H 6.
C au I. Bck w:.IJ of hall. nght of :>ntechamber.
Grillitbs, pi. t6, r >7, and 6g. 53; Burgcs:.,
p. 18, x.
C,11r J. Bck wall of l1all, kft of antechamber.
Griffiths, J; Bu'll"'' p. t3, n.
Catt I. Back w11ll of hall, left corner. Griffiths,
pi. 7, [,and p. 24; pp. 12-13, v.
C.r.r I Back wall of hall, left or l"o. XII. Griffihs.
pi. 7, I (part), and p. >t; Burgd.>, pp. u-tJ, ,.,
C nt I Left wall of hll, h to cdl
C:riffirhs, pi. 13, A', and 1'1' o6-;; nurge1>,
p. 1 2, IV.
Cot'< I. Left of preceding. (iriffith>, L; Burge.,,
p. tl ,tn.
'''"'"'
Tm1,.11
Wottr colour.
\\'at er colour.
Wt.ter colour.
Ttmpero.
Tempera.
I \\' aur colour.
Tempera.
Tempera.
\VIler colour.
Tempera.
Water colour.
W31er co!O<lt.
Tempera.
\\' ater colour.
colour
'
Cf!fll.
Lady Herrin
0
lum.
Miss Dorothy Lv<hr.
:Miss Doro1by Lard>el.
N'>nd.t La! Bote.
Lady Berrlngham
MissDotothy Larchcr.
Lady Hcrringham and
Miss.Dorothf Larches.
Nanda Lal a-.
Lady llerrlngham.
Lady IIerringham
Lady Uerringh:un.
Asil Kumar Haldar.
Lady Herringham.
Syad Ahmad and Mu-
hammad htl ud Don.
Asil Kumar I laldM.
Lady lleninglum.
Samartn<lrnnath
Gul'ta.
S>marendranath
Gupt.
B


10
TABLE OF PLATES
REPRODUCTIOXS 1:\ MOl\OCHROME
Platt. Suhjttl.
X\1. SCEKE FRO)I TilE
(for .Jctail - colou pbte 1\')
XVII. (19) TilE (E\'L0:-1 BATTLE: b>ule-scene from
ConqU'" or Ce}IOn with ""'
borscm<n, o.nd (O.:uil>
in XXX\'11 (43).)
)(\'IlL (10)

j.\1.\K \: nr>: FOIIST

nt's
XIX. (21) JATAK.\: Tll! CAI'
n &lU ll.rrHA.\T a1rusn rooo.
XX. (u) j.\TAK,\
Of TilE ltL(PHANT (ll<low) ANI> TIIF. RltLIL\.<1
(>boh).
XX1. (>3) JATAKt\: nu: rtr
f M I JOINS llt'i )10TIIF.R At-.0 .:JYDJliU IS
TfU: jt :-oGLL
XXII. (>4) THE OF SAIUI'UTRA
XXIII. (>;;) DECGI:-1(, SCE.'-:5 from the l'tir.rnMN
jut.,l.r (Xo. compare Xoo. VI!, XXI\',
XX\'1, XXX\' (31). 1), XXXVII
(4), XXXV Ill (46), and XXXIX ( 48) ).
:-\X\', (>;} TilE KIXC OF DE:-1.\RES 110:-IOL'Rlt\C
THE COLDEX GEESE (llaJ!UajJioti.z,
Xo. so:; ,1/ahJit,utua-;:, No. 53-4 ; Chulla
Ko. 5JJ: sec Nos. XXXUl 3nd
XLI ($4)).
Plart.
C""' .\'I 'If. Right woll of hall, rigbt corner. Grillitbs.
Q, Burgess, 1'1' 75-6. u
Cau X I'll. wall of hall, middle. Grillitb,
pi. 69'-;9' 1', fig. iS PI' 38-9:
p. 7 3 nn, and rl. ""
Con X I'll. D1ck wall ofb.:tll,right hall. Burg.,..,
P 70, XJXTU.
Cau .\V 11. Fxtension to rigbt of preceding.
Griffiths, K: Burges;, p. 70. xxxvu.
Cotrt .\'I'll. !Jndcr No. X\'111. Grilliths, fi!! >o;
Durgt:-s, p. ;o, xxxvL
Cmr X I' I I. Extension to right ofl\o. XX. Burgess,
P 70, X:IX\1.
Cmt X I'll. \\'oil of antcch:unber, ldt corner.
Griffiths, pi. L, and pp. 34 5; Dui'J<ts.
p. 6q, n:x.
C.r.t .\I'll. lAt will of hall, bel"ecn <ell door>.
Gnffiths, pi. 65 , R, and p. 3 7; Burgess, pp. 66-7,
XXI\".
Ccm X VJI. As preceding. Griffilla, R; Burgess,
p. 66, XXII.
Cr.r X I '/I. Left will of hall, right of 6"'' cell door
Gnffith, rl. 64' , S (right), :md p. 37; Burgess,
pp. XIX
XX\'1. ROYAL SWORD BESTOWAL (see colour I Cor. XVIJ. Sec colour plate VII
plate \'11).
1(:9} THEBODinS.\TT\':\ASA
I ELEPHANT N<;>. 514).
xxvu ..
(3o} THE Qt;Ef_'l: OF BFX\RES IU:CEI\'ING
THE Tt.:SKS (o.ee prccoding).
XX\'111. (.JI} A RO\' \L CONFFREI\CE: two
a .\'ci ,_,.d in the background a T .rlllr'
noble.
XXX. (33} DnALL (otAOUtlll IliAD} from colour plate X.
\XXI. (.H) DnAIL or T1rO KL\DS from the oame
XXXII. (35) Duw. or lWO riGUUS from colour plate XI.
XXXJU. (.16} A I.AKE WITIJ IIUI'TERS .\XO
\I'll. I) &c.: a<e
No.. XXV and xtl
XXXl\', (Ji) \I'D IJefore a
pavilion.
Cotrt .\' I'II. Front "all of hall, right ond l<:ft of
entronce. Griffiths, pi. 63, w, fig. 73, and
pp. Jll-1; Burgess, pp. n-8, Lvw oncl ux.
Cotr .\' I '11. .\s prccedtng.
c .... , f. fuck all or hall, right of antccb.mbtr.
Griflith., pi. 16,:-1, and p. :7; Buzgeuo[P 19-20,
xu, and pi. m.
C"" I. As preceding
c,m I. See colour pbte X
I
Cell' I. See colour plate X I and Crillith, fig. 11
Cu: I. colour phte X
If. Lcfa wall of hall, leli cornrr. Gr,ffiths, t;
llurgo,.., p. J>, 1 ttL
r" X 1'1. L<ft wall of hall, middle. Criffith.,, A';
Jlurgess, p. 59''

. . t
JVtdliull.
Tempera.
Tempen.
Tempera.
Tempera.
Ten1pera.
Water colour.
Tempera.
Carbontmcing.
Oil p;Unting.
Tcmpem.
f Water colour.
Water colour.
Water coloar.
Tcmpern.
Tempera.
\\'atcr tolour.
Tempern.
Ttmpcm.


udr Huringlum and
Larcber.
T.ady Hcrringham.
Lady Herringb:un.
udy Herr ingb.m
udy Herringham.
Lady Herringham.
Syad AhmnJ.
L3dy Herringham.
Mi.s Doroth) L:orcher.
L3dy lierringham.
Lady Uerringham.
Miss Dorotby Lardoer.
Sy.W Alno.W.
.\hmad.
L3dy Hcrrlngh:un.
bdy Herringham.
S)ad Ahm.ul and
hamomd t'ul ud Dm.
Lady llerringluun.
l,ady Heningl1m.


J



TABLE 0 F PLATES
Plalr. Su/J;ic/.
XXX\',
{
(Jij) Till:: DYING PRINCF.SS' . .
(.1
9
) TWO A:\'1\1.\LS. A.'\11 BIRDS
IN A P.-I.L\CF. G.'\RDf.:'\.
XXXVI.

GROLP OF CF.I.ESTIAL
(Gandlutrrat and Apl.ttrOltt with KtimaroJ).
{4 r) SCENE FRO)! THE J'I.H'.LYT,J.R.f
JATAKA ( .. < N01-. \'1!, X.Xlll, XXI\',
XXVI. XXX\' (.Jg)?, XX.X\'11 (.p).
XXX\'III (41), 1nd XXXJX (48)).
() KING, AND ClllLDRF.N IN .\
J
CTIARlOT. (Frumthe
cr. Nos. \'!1, XXIII, XXIV, XX\'1, XXX\'
(Jy)!. XXX\'1 {41), XXX\'UI (46), and
XXXIX (4A).)
XX.XYII.
xxxvm
1
{4l) U.F.PHA..'\T-DRI\'f R Tit F.
11.\ TTLE OF Cf.\'LON {Xo. X\'11).
(H) GIRL'S REAU . .
1
(46) DACK \'!EW OF SF.ATF.D GIRL (From
,\'iJga-}1/al., .ctne.)
I (46) ll, and running ..
the cr. xo .. \'11.
5.:Xll!, X.XIV, XX\'1, XX.'\\' (19\1,
XXXVI {l r), XXX \'!I 2). nnd XXXIX
{4!1).)
((H) THE AGONY OF PR I !'ICE Sml after gi\'n11
his C}ts tO Skr.\ (lndr&) in the Ol
, blind hej:g.ll'. (From the Srf.i.j.llala :
XXXIX.l cr. Nos. f\' X\ I.
XL.
(48) IONC, QUHN, AND DF.GGAR GROUP.
(From the f 'tiT .mt.Jra-}1/ala: cr. Nos. V Jl,
XXUI, X-XIV, XXVI, XXXV (39)?, XXX\'!
{41) XXXVIII (4l))
{H) li.JATAKA SCEl\r: (unidentified)
(Go) TWO SEATr:o .\T'mNDANTS.
;, Snake:Ji11uku.)
{
0
a) LOTUS-FLO\\'FRS
(From
(52) FEET RESTING ON I.OTUS-FLOWF.R
(53) WAND-BEARING CHAMBERLAIN IN
DOOR.
XLI. (Si) FIUN1.ER. AI'D Wl,tn
1/ai'ttii-Jdlillt tr. Nos. XX\ and XXXlll.)
XLU.
(55) ATTENDANT HOLDING A f'LOWl.R .
I
(56) l'notcx;JUPII "' MIU'LIC.I of No. XX.ll t>kcn
about the rear a890 for the
1(57) DtTto of No. X\' ll ,taktn for the samt.
Plflu.
Catv X VI, ten ... u, left end, right of piiJstrr.
Griffith., lig 4 ; llurgC>S, p. 58, v.
Cr.. X I'll. l.tft .,...u o( hall, immedoatcly btlow
X.'\X\'I(l of it >DU to fonn a pan.
Ctn'< X I'//. \'cmndnh wAll, lefr of door. Griffitlos,
pl 6o, D', ml p. 36; Burge,., p. 6J, vn.
r."'' X VII. Left ile or hall, right corner .
XL, Left mid,ne. Included in
Burgess, JlV 66 7 .xn- X.xo\'.
Car< X No. X\'11.
Ctnt X I'll. Right of No. X\'11 (lltULhed Ogurt).
Cur. I. Griffitha, fig. 6
Car< X I /J. U,(t ,..n of hall, left uf No. XXIII .
Car. X VII. Right nU of ball right loatr. Griffitbs,
1>!. s. Q'. and p. 39: Burgcss.rp.;s o,LI\',
C.tu X I'll, Left or hall, bttween cell doo11; btlo"
No. XX lllto left.
Cr. 11. Right "all middle. Griffith., pi. 33, 0,
I' 30; Burst'> I' 39, xxx.
C111'< I. ''"" in,ide, right. pi. 18,
P, and pp. 27-M Burgess, pp. r8-r9, xo.
Cart I. Front wall, inside, right. Crinitb., I' 11,
l
1
, lllld p. 26; BurgC>S, p. : 4,
Cr. XVII. I.A:ft ull of hall, right of fir.t t<U door.
Burges,, 11 65-6, xax.
X I'//. Right \\QII ofhull,left pila'icr. Grilliths,
pi. ss, I, and I' 39; Burgess, p. 7' xuL
VII. Set No. XXII
CaN XVII. No. XVII

1 I

C<trbon tmdng. Doroth) l..areber.
Cazbon tncing. )(i>s Dorothy Larcl.<r.
l:Ubon ucing )liss Oowthyl..ucher.
t'arbcon Dorothy l.ucbcr.
Carbon tndng. Dorotb) (.ore her.
Carbon tracing. Doroth) l.orcher.
C.rbon tncing. )liss Dorotl1y Larcber.
Carbon tracing. )lb Dorotb) urcber.
Cazbon trning. :Ui Dorotby Lardl<r.
Crbon tnlcing. Dorotlry
Retr.acing of Doroth) urcher.
carbon COfl).
Retracing or
t'>.rbon <OPT
Reuadng o(
Clllbon copy.
Retr.tc:ing of
carbon cop)'.
or
c.;rbon copy.
TcmJ'<ra.
Reu;adng of
carbon copy.
Miss Dorothy
:Uiss Dorothy Larcbtr.
Dorothy Larcher.
Miss Dorolby Lar<her.
Lady Herringblll'l.
MiDorothy Lauhcr.
Photogr.ath ltindly
>llpplio:d b)
T. 11. llcndky,
c.u:.
Pbolograph k111dly
pphtd by Lt.Col.
T. 11. Jlendle),
C. I.E.
0 ,


'
' .
f
13
THE y,.LiTAJ\AS REFERRED TO I N THE TAnLE OF PLATES
THE following are the jatakas, or Birth-Stories of the
Buddha, referred to in the Table of Plates.'
MXTl).troSIIAKA-j.\TAKA, No. 455 (see plates XVIII-XXI).
Once upon a time, when Brahmadatta reigned in Benares,
the Bodhisattva was born as an elephant in the Himalaya
region, a magnificent white beast: but his mother was blind,
and the other elephants did not give her the sweet food he
sent; so he took her away to !\fount and there be
cherished her. One day he saved a forester, who for seven
days had lost his way, and carried him out of the forest on
his back. The man, however, marked the trees and hills, and
then made his way to Benares. At that time the King's
State Elephant had just died, and there was a proclamation
for another fit for the King's riding. The forester betrayed
the friendly elephant, and showed the King's hunters the way.
The Bodhisattva, in spite of his great strength, refused to
destroy them, lest his virtue should be marred; so he was
caught in dte lotus-lake ami taken to the King's stable, decked
with festoons and garlands. The King took all manner of
fine food and gave it him; but not a bit would he eat:
'Without my mother I will eat nothing,' he said. When the
King heard the story, he gave him freedom: and tlte elephant
went back to the hills and to his mother, and, drawing water
from a limpid pool, sprinkled it over her, and at last she knew
him and blessed the King's goodness, and the King did continual
honour to the Bodhisattva, and made a stone image of him.
There the inhabitants of all India, year by year, gathered
to perform what was called the Elephant Festival.
VJs\'ANTAkA-jATAKA, No. 547 (see plates VII, XXIII, XXIV,
XXVI, XXXV (39) ?, XXXV1 (.p), XXXVII (.p),
XXXVIII (46), XXXIX (48)).
To King Sibi was born a son named Saiijaya, whose
Queen Phusati had a son Visvantara. Before his birth the
fortune-tellers said that he would be devoted to alms-giving,
never satisfied with giving. As soon as he was born, he
held out his hand to his mother and said, '1\'Tother, I wish to
make some gift, is there anything?'; and she gave him a purse
of money. When he was eight years old, he \Vished to give
away something of his own - his heart, his flesh, or his eyes.
As he grew up, he gave great alms, at last even his magical
elephant with its costly jewelled trappings, which could bring
rain to the drought-stricken kingdom of Kalinga. The people
were so angry witl1 Visvantara for giving their elephant awar.
that to save his life his father banished him: his wife Madri
and chi ldren accompanied him. He gave everything away.
even surrendering to four Brahmins who had not shared in the
other gifts the horses of the chariot in which he was driving
I 17te } <1fcTk<t , , , /r<llt<f<tftif frqm f!Je J'i/j DJ' f'<triOIIS fl lltdf UN,/tr fflf
ditors!tip t>f Pn!fissor E. IJ. Cuwdl, Cambridge, 895- 93 ' rile proper
names arc ror the sake or consi>lcncy, und also in ,,jew or the and
or the C.1VCS, given in their S:mskrit rorms.
away with his wife and children, boy and girl: so they had to
go on foot. To prove his virtue. the gods allowed his children
to be taken by a Brahmin J Ojaka, who was cruel to them, and
bound and beat them. At night, as they travelled, he left the
children lying on the ground, while he climbed into a tree for
fear of the wild beasts. But the gods pitied the children, and
in the guise of tlteir father and mother came every night
and tended and fed them, but in the morning put them in
their bonds again. In the end they reached their grandfatlter's
court, where they were recognized. Then the great God
Sakra, feeling sure that the Great Being woult.l give away even
his own wife, decided himself to ask for her, so as to enable
him to attain the supreme height of perfection, and, having
thus made it impossible that she should be given to any one
else, then to give her back. At last Visvantara and Madri
are by Sanjaya and Phusati from their hermitage
life and restored to tlteir children and royal honours.
Cf. Tit. GJtaknmdf,f . . _ b) .iryn Slira lramfaled. . b)' J S. S}'e)'"-
Oxford, a895, pp. 7'--113
SIIAJ?OANTA-jATAKA, No. 514 (see plate XXVII).
Once tlte Bodhisattva came to life as the son of the chief
elephant of a great herd of S,ooo in the H imalaya. They
dwelt near Lake Sha(ldanta in a golden cave, amid pools of
white lilies, blue, white and red lotuses. and thickets of red
paddy gourds and of many other plants. The elephant was
82 cubits high and 120 cubits long, and had a trunk like a silver
rope. He had two queens, and accidentally be offended one of
them. She prayed that she might be reborn as a beautiful
maiden and become the chief wife of the King of Benares:
Then I shall be dear and charming in his eyes, and in
the position to do what I please. So I will speak to the
King and send a hunter with a poisoned arrow to wound and
slay the elephant, and thus I ma} be able to have brought to
me a pair of his tusks which emit six-coloured rays.' Thence-
forth she took no food: and, pining away, she died.
She was reborn. and became the Queen of Benares, and
carried out her wicked intemion. When the hunter whom she
sent, travelling seven years, had shot the royal elephant with
tlte poisoned arrow, he was unable to cut off the tusks,
although the elephant lay down and let him climb up his
trunk; so the elephant with his trunk pulled them out and
gave them to the hunter, not as having no value, but as
less than tlte 'tusks of omniscience, ... and may this meritorious
act be to me the cause of attaining omniscience'. When tlte
tusks were brought to the Queen, she bid them in her lap on
her jewelled fan, and thC'n, at the rcmembmnce of one who
in her former c:o.istence had been h<r dear lord, she was filled
with so gre.u a sorrow tltal she could not endure it, bnt her
heart then and there was broken, and that very da} she died.
Tbe six-myed, or six-coloured, tusks are generally taken to
mean six tusks.



'

!liE :J.rl'l./l.:.ts HEFERREIJ J"() IN T ilE TABLE OF PL\fES
Rer.l']AT.\K 1. (se< plate\ Ill),
A merchant',; brought up to pleasure by Ius nch
parents, wasted his possessions was dunned by his
creditors: pretending that he' cl show them buried
he then threw himself into the Ganges to drown, but. being
fn;;htnetl he out pitifully The Great ileing had been
born as a golden deer. I [e had forsaken the herd and "a'
Jwelling alone. lie the drowning man, and then ex
tracted :1 promise that he shoult.l not be betrayed. l.lut when
\Jucen Kshemii clrcamcd of a golden deer who preached to her,
and in]uiry was made, the man hroke the promisc, and guided
the Kin:.; to the deer's haunts. The King, enchanted by his
hone)ed voice. let his bow fall and stood still in
anti he took the Cnat Being to llcnares and appeased the
Queen's <lesire br his discourse, and, as a boon, the
procl.tirnetl 'I gi1e protection to all tu res' From that
time onwards no one durst so much raise :1 hanJ again't
bca't or bird.
')ucr-RAJ.\-jAT.\K.\, l\o. 499 (sec plates I\, X\'1,
XXXIX (-!7)).
Pr.nce Sibi, the son of the King of was the
Great Being. lie g;tl'e much in alms; but one day he
to give that was truly himself-his heart,
his flesh, or his C)es-or tO work a sla\e. Sakra, the god,
resolved to try him, and he came as a blind and aske<l
f<>r first one eye, thn the other, ami the prince ga,e them
sult'cring great agony, surrounded by his 11ecping and
wailin:: ministers ilnd women. received both eyes,
Sakra returned tn the abo<le of the gods. The entl of tht'
is fnr Sakra came again and !-.'3\'e the blind
the eyes of Truth absolute and perfect, which were
'neither natural nor llivine '. Yet we are left thinking that
the ](ing received both natural and spiritual.
Cf /'/1. JM; ._ c. 1'1' 8-HJ.
\, No. 5-34 (cf. '\os. 502 so:)
(set XX\' XXXIII, XLI (54)).
Once upon a time there reigned in Uenares a b:ing called
the Father of l\lany and his Queen's name was Kshema.
At that time the Great Being was a go)Jen goose, the chief
of ninety thous:tnd geese. The Queen dreameJ that a golc.len
goose preached to her: anc.l, waking, she desired to find him.
Pcrsuade<l D)' her and b) his hunter, the King made
his lakes ;t b'Teat sanctuary, and proclaimed this afar. 13ut,
when the go!Jen geese came, the hunter snared the Great
Ucin;; and hi> captain, Sumukha, and brought them to the
King, b) the Great Being's free will, for the hunter 110uld
have set him free, ncogni1ing his virtue. The K iug was
delighted :ltld did them honour, feediug them with houcy nnd
fried grain; and, holding out his hands in supplication. he
prayed them to speak of the Law .... Thus did the Great
Being discourse to the King- the live Ion!-( ni!-(ht,and the Queen's
craving was appeased.
Trn; To THA (sec Plate X X 11).
When the l\Jaster stood at the foot of the staircase (b)'
which he descended rrom heaven after preaching to the
thirty-three Gods]. first EIJer Sariputra t.<ave him greeting,
afterwards the rest of the company.
A midst this assembly, the Master thought, l\loggnllfina
has been shown to possess supernatural power, U pllli as one
l'ersed in the sacred law, but the quality of high wisdom
possessed b) $ariputr.t has not been shown. Sa1e and
except me, no other possesses wisdom so full and complete
as his; I will make known the quality of his wisdom."'
he does by putting successively more difticult questions, which
Sariputra answers.}-} ,\TAl\.\, Xo. 483, Introduction.



J



15
NOTE ON PREVIOUS COPYI NGS OF T HE F RESCOES
Bv THE EDITOR
Tur Caves of AjanU first became known to Europeans
in 1819. Descriptions of them appeared in the Trmwutiom
of flu Ro;al Asialit S!Xid) in 1829. pp. 362- 370, and
the Rom/;ay Couri.r in 1839. l\lr. (afterwards Sir James)
Fergusson laid before the Royal Asiatic Society in 1843
his paper on the Rockcut Temples of India. a dozen pnges
of which :uc devoted to 1\janta. In the next yc:tr that
Society addressed the Directors of the East India Company
with a plea for the preservation of the caves and the execution
of copies of the frescoes; and, a result of their ;\linute of
:'llay 29, ;\lajor (then Captain) Robert Gill of the ;\ladras
Army was engaged to make fac.,imile copies of all the pictures
and was allowed adequate assistance.
Major Gill worked with devotion .tt Ajanta until the Mutiny,
and sent from time to time about thirty copies, many of them
of very large size, to London, where they were kept in the
Museum of the East India Company in Leaden hall Street.
These were painted in oil and were, except for the vehicle,
facsimiles. The work proceeded through twelve years under
difficulties and disappointment.-;, and it constitutes a remarkable
feat of endurance. In 1852 a large piece of painting was
stolen, and repeated requests for a guard resulted in a 11aik and
eight siptthls being sent in Sept. 1857. !l:ext year fever and
dysentery appeared in the camp, and Major Gill reported him
self as having been far from well during the last fifteen
About t862 GiU's stereoscopic photographs of the Rock
TcmpltS of Aja11/a aJtd Ellora were published, and he was still
sending home paintings and drawings in 1863, in which year
also he drew up a memorandum of his work at the caves
(Madras Government, Public Department. Nov. 27). His
One Hwtdrcd Stereoscopic 11/uslralious of ArtltiftclllltJ and
Nallmd lf'islory appeared in 1864. The paintings, except
the five last executed, were sent to the Crystal l'abce at
Sydenham for exhibition, and they all perished there by fire in
December t866. No photographs of them had lx:en taken.
In 1868 Major GiU disposed of his negatives and two
books of plans, sketches, and notes to Government for the
sum of 200. The photographs were taken by the light of
a magnesium lamp, and for these A list of lite pltafOE[rapltir
11tfrlllhts of Iudimt attlitptilits ... lite posstSsiall of fltt
India Office, 1900, he consulted. Not long after the lire
Gill went again to Ajantii to report on the state of the caves
with a view to further copies; and his letter of June 2 t, 1868,
after enumerating several inst.lllces where the painting had
disappeared in the course of the last ten years, closes some-
what sadly: 'Reduced as the paintings now are and in their
present condition I think ordinary tracin!r' of what
could be made om and only one or two small pieces finished
up, merely to show the le of colouring and the light
shade of the originals, would be all ll1at is neetletl.'
The five paintings which escaped tbe lire of 1 ._6 found
their way to South where they in 1 8;9,

when Dr. Burgess published his Noks 011 Bauddlt11 Rod:
Tmtp!tS. On pages to-r.; he four of them as lclong
ing to C.nf' I, and the fifth he mentions on p. 64, and in a recent
letter to the Librarian of the India Office, as being a very
long ceiling from the 1erandah of Ca:!t X ( -'If. The latter is
now lost; it may have been burnt in 1885.
The four others are still tlwrc, and, though the) hear no
identifying marks. they are distinguished from the rest of
Griffiths's collection both on account of their style, 11hich is
marked by great fidelity to the original, and by the fact that
in these alone the backs of the camases have been treated
with oil as ::1 preservative. Two of them were incorporate<! in
Griffiths's book as plates 6 and 7 of Ca;(' I (compare with
plate 7 Nos. X 1 I and X Ill in this publication). A third
is in good and is fr.lmed ami exhibited. it is
divided down the middle, and its subjects are portions of
J ataka scenes. That of the left half is the capture of a grcat
snake; and the right half is a pabce scene in which female
musicians arc pia> ing before a king and queen (cf. Xo. X\'
(17)). The fourth picmre. the Great Buddha, 1'\o. XI (r .')
is in a sad state; it shows signs of having been in
haste from its frame, and the surf.,ce is dulled-the effect,
possibl), of smoke and water. lt is of interest as explaining
some details in the original frescoes which hat! by 1910 become
obscure and supplying others which time had oblitcmtl!d it
may later on be repaired and exhibited.
In t8;2 l\lr. Fergu.sson and Dr. Burgess urged upon the
Indian Government the necessity of replacing Gill 's
copies, and i\lr. John Griffiths was asked to visit the caves
and report. On the strength of this report an armual j,rr:t.nt
was sanctionct.l, and in 1875 'lr. Grifliths, with the help of
students from the Bombar School of Art, began the work.
This lasted, with three years' intermission, until 1885. costinj!
between 2,000 and J.OOO. The copies were sent to
South Kensington Museum. !\lr. Griffiths's proposal that
duplicate copies should be made was neo.;atived, though photo-
graphs were taken (see 'Short Bibliograph) ' , ){o. 6) On
June t 2. tS85, out of 125 canvases, in some cases
sc1eral pictures, which had Lecn s<nt to South Ken,ington,
S.z_were dcstroye<l, or damaged, by f1re: from th.; resilluc
l\1r. Grifliths subsequently edited for Government Tlul'ttiul
i11gs i1t lite Buddhist Cazcs at A;anla, London, t896, in two
large folio volumes COntaining I 56 plates besides illustrations
in the text. A further 56 copics were added by Griffiths in
rSS; and 1892, mostly in onlcr to repl.lce those which had
been in existence \.efore the lire. or some hundred of the
original copies, which remain at pre,ent, 56 are exhibited on
the walls of the Indian section of the Victoria and 1\lbtrt
r.t useum.
Titles of works 11 hich dc.1l \\ ith t\jant. will t.c
found in the 'Short Bibliography', entered under the :\os. 5,
6, ;, 12, IJ, 14. :!0, 24. 25, ;6, 3i ., ,R, 4 2, .J4, 48, 49





16
T ll E EXPEDITION
BY SIR \VILMOT HERRil\GHA\t
L.\DY HF.kkiSI:IIA\1 first went to India in the winttr of
ri)06-7. At that tinw, on the of Mr. Laurence Bin-
yon of the British she both Ellora and i\jantfi,
and she travelled widely both north and south to sec the
architectural monuments in which India, beyond all other
countries, is rich. \\'hile at t\jant. f>he. herself a painter,
was deeply interested in the frescoeo; that remain on the walls
of the rock-hewn temples and monasteries there, ami "he
m:ulc a rough sketch of a lnrge Buddh:t th:tt forms one of the
subjects. The inttrest of fllr. Binyon in the sketch :tnd in
her nccount of the paintinbss still on the walls, added to
her own, led her to make a second \'isit in the winter of ICJO<) 10
and a third in 1910-1 1 In thc cour,t of the fonn1r spent
precipitous hillside so that the entrance of the first faces the
black mouth of the last, at a distance of some 500 yards.
Hetween the columns of many of the temples are hung great
nests of wild bees, which must be carefully humoured to
prevent dangerous hostilities; and in the deep recesses
gibhering bats crawl sidlinl{ along the rock cornices, unaw::tre
that the concentrated stench of their centurres of occupation
is their most formidable defence against man's intrusion.
Standing on the terrace. you look down upon the river bed
cuning- nway to a wnterfall on the right. and beyond it rises
a sloping rocky hill covered with scruh. In the rains the
ri\'cr hecomes a mighty torrent, but in ''inter it dwindles to
a stream with a few pools in it. Green parrots Ry across it
11 I.ORA ASD AJ.\1\T \
about six weeks. and in the latter more than thre<. months. at
Ajanm in a camp equipped for her hy the generosity of the
"iizam of 11 yder.ab.rd, in whose territory Ajantii lies. On
both occasions she had the help of I ntlian stuthnts Syad
Ahmad and :'.Iuhamm:ul Fazl ud Din of llyderabad. K:antla I-'ll
Hose, :\sit K umar 11 aldar and Samarendranath Gupta, from
the Calcutta School of Art, who ''ere sent at the expense of
i\lr. Abanindranath Tagorc, and worked with hcr nnd under
her dirl'ction: ami in the second winter she was assist<"l h)
flliss Dorothy Larchcr, who went out from Englanu \\ ith her.
temples are hewn out of the solid hill which fom1s
une side of a romantic thirt) four miles south of J algaon.
'station about miles from Bombay on the line to
fhe village of fard;lpur, where there is a 1 >ak Bungalow, in
the compound of which camp pitclwd,
is about four mrlts from the cavcs hy :1 track 1\cr "hich
only bullocks could pull a cart. About .1 mile of this to
he done on foot up tlu bed of the ri\'er. at the end of" hich
there is a stc1p flight of steps leading to a rough t<rraced
path, which connects the colonnaded of the twenty
seven temples. These are cut in the wide concave sweep of
in the ;unshine; monkeys, boars, and an occasional panther
haunt it; and black huck feed in the valley. Everywhere on
the b::tnks are long bottle-shaped birds'nests, something like
those of our long-tailed tit. lt is a wild and beautiful place.
In addition to her own artistic work and the snpenision of
the work of others. Lady l lerringham had on her hands the
management of the camp, the treatment of many sick persons
who came to her from the neighbouring and even of
ick besides the care of guests who from time to time
visited her. Almost all provisions had to be obtained from
Bomb.,) and fetched from the nearest station, which was over
thirty miles awa). With bullock carts the journey takes
about SC\'enteen hours e01ch way. The camp was, however,
a great pleasure to her. She loved the freedom and the
simpk country surroundings of the life, ancl much appre
the open friendly intercouN' with the young
Indian gentlemen who wcrc her assist.lnts. She was, morc'-
over, clecply interested in the work bPfor her: for l>hC felt
that was face to face with the remains of a great civiliza-
tion and a great art, of which little is left but tradition.







..
l

1- ,
0 )1 THE HIST ORY .r\ XD CII ARACTER OF THE
PAI NTI NGS
BY LADY HERRI I\GI I A'\1 (wRITn:S 1:-< 1911)
l 111 copies from the ,\janta frescoes were made by
myself ,tntl one English and several I ndian painters during
the winter seasons of 1909-10 and 1910-11. Previous copies
have shown all the blemishes and holes in the plaster. \ Vc
have thought it advisable, for the sake of the beauty of 1he
and of intelligibility, to fill up the smaller holes.
But, though some people may call tltis restoration, altering
uur work from literal copies to 1 think we ma)
fairly claun that thts omission of damage has been done \Cr)'
cautiously. and the unfinished look of the copies is the cnn
sc<1nence of our restoring so little. A copy of a damagc<l
picture necessarily look like the copying of a badly
painted or unfinished one. In reality, the technique of the
original work is so sure and perfect, that we none of us ''ere
good enough executants to repeat it.
It ;, a remarkable f.1ct that the finest period of !'>ansknt
litemture ( \.IJ. 300 to 150) and what \le may call the Old
J>icture Caller} of Ajanta are broadly conternporar) "tth
one another. Furtlter one centre of this of splendid
romance and play\Hiting was the beautiful and statelr city of
Ujja) int (now Ujjain). not so very far away to the north, and
it is quite reasonable to conjecture that these two places may
have belonged to the same region of cultural and artistic
development, although the religion of the literawrc is
Brahmanical and that of the Ajanta painting purdy
I n later :'>lahratta limes the fortified towns of ,\jantll and
Fardapur (where we camped), each four miles from t he Caves
in different directions, guarded a most important pas!> through
the Vindhya mountains. Aurungzeb sometimes at Ajant:i.
Lat er still this pass was the scene of much fighting l>ctwecn
Wellington's troops and the l\lahrattas. The district was
probably alway.; gf great military importance. The old fort
and gates still remain.
T he following extract from the romance of the Princess
Kadambari, written about the middle of the seventh century,
indicates the importance and prevalence of (fresco) pamting
at this period :-
Thtn: is a city named Ujj.1rini,the proudc:st gem of the thn:e world.,,
the very birth-place or the Golden Ag-e . The painted h:r.lh that
deck it are filled with gods and demons, Siddhas (attendants on
Gandharvas, genii, and snakes .. , . The citv like a suburb
. .
\\ ith its long houses; il bears in its painted lulls the mirror or all
fonn!l. (5<-e T/, KaJ.rml>ari <'/ Bti'!'' 6y C. .11. Ri.fdin,r,
London, pp. z so 5<1'1)
In another pass.1ge the reflection of the princess is described
as 'mingled with the decorations and the polished surfaces
and mirrors of her pavilion, while the universe in the guise of
pict ures on the wall gazes upon her beauty '. The portrait
of t he Princess Slkunt.da IS dt:scribed at length in the very
beautiful play of that name [in Act VI).
considers that it is the Ajantii ravine with its
temples that is rcfemd to by the Chinese pi lgrim, t he
Buddhist monk, I 1 iucn Tsang, who travelled in India during
the h.tlf of the SC\'cnth century. He sa ys thal no o1.hcr
spot in l ndi,\ would sufficiently correspond to the description
prcscncd hy the monk, who, however. did not \'isit the place
himself
Un tl>e ca>tcrn frontiers of the kingdom L of l'ulik6i, King of
MahJr:ihtra ),there is a mountain range with summits rising one above
.1nother, of rod, double peaks. and .cuped CI'C<l5.. Former!)
n convent 1\ a con>tructed there in a gloomy valley. Its lofty edifices
.1nd deep h.ll formed wide in the dill's, and dung on to the
hcighto. Its erand.Uu and two-storied towers were b.;cked on the
cavern and looked towards the -alley. Thss monastery was built by
the ,\rhat Achlr.t. The l"iJuir., of the convent about IOO ft. high.
In the middle tbc:re is 3 tone <tntuc of Buddha about ;o ft. high
r prob;rblythe rceumb<nt:\il'\-;u;ta Buddha of C/rait7a . .\'.\'I 'I,
confused 1\oth a $rn;tllcr erect tigun: elsewhere]. 11 is urmounted by
-even small domes m stone, <uspcnded in the air without an)' visible
support, 'fhe)' arc o;cp.lr.lted from each other b) a space of about
lhn:c feet. [Thb 11ould be the SlCrcd stone umbrell.t ofC/raiiJa -'""X.)
According to the .lncicnt accounts in the country they are
by the force of the vows of the Arhat. According to some
thi, prodigy is due to hi> supernatural power, nod according to others
1o his kno.-ledgc. llul it is w.elcss to seek an explaMlion
from history of the prodigy. All around the l"ikoiril the of
the rock are with representatiorut of the life of the
Tathlg.t., [ lluddhol). wherever he was a Bo<lhisattva, the auguries which
announced his i\rhat>hip, and tltc divine prodigies which followed his
entrance Into =" irva(ta. The chisel of the arti.t has depicted all
events in the most minute detail, without forgetting one. (There i1
n great de:LI of sculpture at .\janta, in Chaitya XX VI,
where there is the grenl Nirv.u.t Buddha; or possibly the Chlne.e terms
might include l>ainting.] Outside the gates of the convent, to the
>Oillh and to the north, left and right. i a stone elcplunt (the dcplunt.s
and the gale exi>L]. 1 have heard the people of the country s.1y that
from time to time the.e elephants ghe terrible crie:., which make the
earth tremble. lormcrly Jina Hodhisattva LDignaga] often stayed in
thi mon3>tcry. (Translated from Stanislas Julicn's transbtion of
Hiucn Tlb:ang's .lflm,,irrs s11r Its r"llrlts dtlmtalrs,' vol . P.ui.>,
lli,j;-1<, 1'01. ii, pp. l,jl - l.)
The monastery h.1lls aod the Clwil;as whicl1 contain the
fresco<:s, and which are almost exactly like apsed Romanesque
churches" ith b.trrt:l-vaulting for nave and aisles, are excavated
in the f.1cc of a great semicircular cliff. at the foot of which
flOI\ a "tr<-am, turbi..J and swirling in the rair\S like a glacier
torrent. The Budtlhist monks loved wild, mountainous spots
for retreat and contemplation ; but perhaps t he)' never made
a better choice than tl1is particular ravine, and no other place
has finer 'architecture,' except perhaps Ellora. 1'\ot nearly
c


'

18 NOTES OK THE HISTORY AND CHARACTER OF THE PAINTINGS
enough attention has been given to the proportions chosen
for these halls, and to tl1e rich decorations of the columnar
'orders' e.xecuted at about the date of St. Sophia, and before
the birth of the Saracenic :md early West European styles.
Copies of detached portions of these wall-paintings,
deprived of their surroundings and framed, c:m give very
little notion of the real effect of the whole. Probably every
part of every chamber was originally painted, or intended to
be painted. The principal remains now are in Vihiiras ./,
11, XV/, and XV/1, and Chaityas IX, X, XIX. The
first four may be imagined as square halls, about 65 feet each
way, wid1 llat ceili11gs from 12 to 14 feet high, supported by
some twenty massive columns, making a rectangle of
apparently six to a side. In the back wall there are recessed
shrines containing colossal figures of the Buddha. In the
front wall 1.here are doors and windows. This provides an
immense wall-space. The Chailyas offer much less wall-space,
and most of their painting has perished. There is also, unfor
tunately, very little left in NIJ. X VI. The aisles formed by
the columns are to some e.xtent thrown into sections by
occasional piers, but except this there are no divisions between
tl1e paintings, nor are they surrounded by ornamental borders.
The paintings represent the tale or incidents in a sort of
continuous manner. The same personages appear two or
more times, only grouped variously, according to the subject.
There are what one might call nucleus points-points of
interest-in the narration, with a certain number of connecting
links. The transition from episode to episode is managed
by such a device, among many, as d1at of a man looking
through or guarding a doorway, sometimes by tlte continuous
ness of the pictorial-architectural background. The impression
is not so much tl1at the walls were surfaces to be decorated,
as that they offereu precious space on which the legends
might be depicted for dte edification of the devout. The
frequent cell doors and the piers had the effect of causing
variously shaped spaces, often small. 1 t looks as if these
were sometimes allotted to the aspiring artist as the only
'hanging room ' available.
The pictures illustrate events in the life of the Prince
Gautama Buddha and in the more popular of the Jataka
stories, that is, the stories of tlte Buddha's previous inearna.
tions, perhaps also some scenes of semimythological history.
Incidentally they illustrate the court life and popular life of
the time, as told in the romances and plays.
The paintings certainly spread over 200 years-from 450
to 650. F ergusson sees a strong resemblance the
pictures and types of Chail;as IX and X and the Saiichi
bas-reliefs of about " o. too (Chail)a IX itself may bt
considerably older). Dr. Vogel, ofdte Imperial Archreologieal
Survey, said posittvcly this last winter that the inscription
'Sibi Raja' on the knees of a seawd king itt No. X VI./
is in characters of the Gupta period of about ' o. 500. This
l believe to be one of the latest paintings in .N() . \'Vi.!.
No. X VI has gcnemlly been thought to be rather earlier in
date, and N()S. I and 1.1 certainly much later.
There are at least twenty different kinds of painting. !:>ome
pictures recall Greek and Roman composition and proportions;
a few late ones resemble the Chinese manner to a certain
extent: but the majority belong to a phase of art which one
can call nothing except Indian, for it is found nowhere else.
1 n one respect the composition is unlike most Chinese paint
ing, for there is not much landscape. The figures occupy the
field, often grouped in a manner which recalls the alto-rdievo
of sculpture. Some still remain very little darkened
by the smoke of pilgrims' fires or the varnish of copyists, and
not much injured by the bigotry of iconoclasts; anJ these are
of great assistance in the disentangling of the more spoiled
portions. Nearly all the painting has for its foundation
definite outlines, generally first on the plaster a vivid orange
red, corrected and emphasized with black or brown as tl1e
painting proceeded. The outline is in its final state firm, but
modulated and realistic, and not often like the calligraphic
sweeping curves of the Chinese and Japanese. The drawing
is. on the whole, like media:val 1 talian drawing.
In the copying our lirst business was to find and trace these
outlines, and our next not to lose them as we proceeded with
the subsequent colouring. However darkened or decayed the
surface may be, they can nearly always be mad.: out. The
composition and of many of the pictures could be
recovered in this way where the colour and modelling would
be almost conjectural. \Ve have attempted to give some
notion of differences of technical style, but it is not easy to
do this. The quality of tlte painting varies from sublime
to grotesque, from tender atu.l graceful to qu.ite rough and
coarse. But most of it has a kind of passionate
force, a marked technical skill very difficult to suggest in
copies done in a slighter medium.
To me the art is of a primitive, not decadent, nature,
struggling hard for .fresh e.xpression. The artists had a com
pletc command of posture. Their seated and floating pose
especially are of great interest. Their knowled);c of the types
and positions, gestures and beamies of hands is amazing.
i\lany racial types arc rendered; the features are often
elaborately studied and of high breeding, and one might call
it stylistic breeding. The drawing of foliage and flowers is
very beautiful. In some pictures considerable impetus of
movement of different kinds is well suggested. Some of the
schemes of colour composition are most remarkable and in-
teresting, and there is great variety. There is no other really
fine portrayal of a dark-coloured race by tltemselves.
The Ajanta pictures have one great advantage over most
Indian sculpture, which was, it seems, frequently covered
with a thin white chuuam (plaster), then coloured. At
the Kailasa of Ellora tl1ere are early unspoiled spec.imens
where the plaster has been carefully picked out and
linished with a sharp tool ; but. generally speaking, it has
perished, leaving a rather rongh stone foundation, or it has
been overlaid and tltickened till all delicacy is lost. But the
painting is, in many eases, just as the artist left it; at any
rate it is not re-painteu and clogged. This is partly why it
is so much more interesting than the dull, debased Gandhara
sculpture; Lut also because it is full of vigour and variety
and freshness-rejuvenescence. ltalian nitl!IJ Qua/tr()tcJtfv
is full of reminiscence of the classic: but it is new and
fresh for all that, and so is tl1is Indian Qual fro and CiJtqurcculv
the tlid/(), To see all this there must be patience and
powerful lamps, or more patience in waiting for the short
spells of natural light when level rays of sunlight fall on the


I
"





,

NOTES ON THE HISTORY AND CHARACTER OF THE PAINTINGS 1\J
lloors and are reflected on the walls. l\Tany people go with
a candle and sec almost nothing.
There are three long inscriptions at A janta cut in rock, one
in Cave X V f, one in X V f !, and one in .Y X V I Fresh
squeezes were taken by the Government Department of
Arcl:t<eology while we were mere, and we may get new trans-
lations. That. of Cnv.: X V I is in praise of the kings of t.hc
race. It seems to begin with a salutation to Buddha
-to' him who removed d1e intense fire of misery of the three
worlds ',-and then relates the genealogy of the King Vindhya-
sakti, 'in prowess comparable to Purandara (lndra) and
Upcndra (Visht:m) ', the lion of the race; other
kings follow; but, as the translation stands, it seems as if the
son of a certain 1-lasti Bhoja was minister to one of the kings.
and that he was the donor of No. X Vf, who, 'for the benefit
of father and mother, established the cave' (or house). We
must piece together the fragments which tell of ' the arrange-
ment of pleasing pillars-the great place of rest-where there
is an opportunity of enjoying extreme happiness ... on the
most beautiful mountain ... the mountain resorted to by the
great ... whose top is occupied by caves of various kinds'-
In two other documents there are corroborations of this
inscrtptlon. On a copper plate found at. Seoni, recording
a grant of land to a Brahmin. there is an enumeration of

Kings Pravarasena, Rudrasena, and others of this dynasty-
one of them marrying a Gupta princess, which is clearly
recognized as a very grand alliance.
ln au article b) Bhau Daji,in vol. vii (pp. 53-74) of the Bombay
Asiatic Society's journal, it is stated that the VishQU PurliQa
makes Vindhyasakti chief of the Kailakila Yavanas; and the
Vayu Purat)a makes him the father of Pravlra (Pravarasena),
performer of various sacrifices also alluded to in the Seoni
copper plate. This Yavana blood is employed by Bhau Daji
to point the theory that the painting is Bactrian Greek. As
has been said alrcadr, traces of something that may broadly
be called Gteek influence may be found there; but the interest
lies more in lhc departures from this type than in the
reminiscence itself.
It is noticeable that, while the Ajant:li inscriptions in Nos.
X Vi and X VJJ are Buddhistic, praising Muniraj {Slikyamuni
Buddha) in various terms and insisting on Lhe merit of giving
Vilu:Iras and Chaityas to the monks, the Seoni copper plate
is couccrucd with the worship of the King
Pravarasena is the protected of Siva, and his ancestor and
namesake has performed nine kinds of Brahmanical sacrifices.
X on.-A dwcussion of tbe of the caves by Mr. Vincent Smith (see
!'1os. 48 and so in the 'Short Uib\iogropby') supports the conclu$ion reacbed
by Lady Herringbrun oo the preceding poge n.s to the d.1te of the frescoes.
c '




20
NOTE ON THE l\IANNER OF TAKI NG THE COPI ES
81 :\IISS DOROTIIY !11. LARCHER
I1 is nearly impossible to at once an impression of the
11 hole of the compositions without the aid of ;u-tificial
li:.:ht. The ace-tylene lamps which we 1,<ave a good
light over two-third:; of a wall, and was for
completing copies. For frescoes in p;ms a
molPr lamp on a tall three-legged stand, and so arranged th:n
the light coultl be turned on to the top or bottom of a
woultl ha,e been satisfactory. Oil lamps are possilole.
hut they arc difticult to manage. and the light is not so con
centr;tted. In some cases. of course, it is light enough to copy
without bmps.
In some of the paintings the colour has become so dark as
to he scarcely distinguishable from the black outline. The
work was also very difficult, when t.he paintings \\ere near the
tops of the \\ails. In these cases we used rough locally made
step ... which swayed considerably. and had to be held by
coolies. 1 found that, \\hen the painting was very much
darkcnetl with age. the best way of tracing accurately was to
fa,tcn the two top corners of the tracing paper with adhesive
slips roll it up quickl) from the bottom with the left hand,
look at the outline, roll the paper back, and trace. In this
IIJY it is easier to copy t.he various thicknesses of line; and it
is most necessary to draw the lines freely on the paptr.
The outline e,er} where is ''er} sensitive.
\\'hen the coloured copies were made. a f.tirly rough tracin1:
was done first anti transferred to the painting paper on the
framrs, and the outline accur.ncly copied from the fresco
afterwards. but in the case of those intended tO remain as
outlines, the exact tracint: was made on the wall. The
coloured copies were executed on thick cartridge paper.
canv;ts-backed, :tnd stretched on wooden frames. For
tr.welling the paptr was taken from the fr;unes, rolled, and
packed in cylmtlrical tins.
That wonderful picture. the Ccylon D.tttlc' has been in
dutlcd here; it was not entirely tol...1dy llerringham's
satisf;tction. It is the largest painting of all; ::md,
the is broken in many places (intentionally and other
wise), the colour still retains a good deal of brilliancy. It
is a nohle composition, and contains separate groups 11 hich
in themseh-es are gems-the splendid elephants swaying
through the archway ready for battle. the fighting with spears,
the flying arrows, the terrible demons, the exquisite l:,'l'Oup of
dancing-girls and musicians above, ami Lhe anointing of the
king-all these are united in one marvellous whole. The line
in this picture has an assurance and delicacy even surpassing
those of other pictures ,\janta.
On first entering the halls of Ajant;L it is ver) difficult to
see Lhe paintings on the walls clearly, and those who have
joumeycd from far awa) to see these wonderful frescoes
experience a sense of shock at the darkness which has
given them. But, if such a one will wait a while before
deciding to be disappointed, graduall} the figures of kings
and their gracious queens, of mnitlens and courtiers, of
dancing-girls and musicians, hunters and all kinds of animals,
will emerge from the walls, as if by magic, and dominate these
ancient temples. I think that at dead of night one could hear
the soft cl.tshing of :mklets, and that, in the silence, glances
which flash from those long eyes might even break into
"hispcrings.
There is a significance in the \'er}' remoteness of these
kings and queens who reign for ever in passionate calm.
The faces ha,e nearl} always that expression of gracious
aloorness which is characteristic of all the best Indian
sculpture and painting. In a few cases a passing emotion has
been allowed to show in the features. In tlte temple known
as Ca; I is an unspeakably wonderful figure of a Bodhisattva,
holding a lotus in his hand. It is to describe tbe
majesty and gentleness of this figure. As in all l ndian paint-
ings, there is a deeply treatment of animals, trees
and plants: and it is interesting to remark that all the plants
"bich arc represented in the frescoes are to be found growing
in tbe ravine to-day.





"


21
THE PLACE OF THE AJANTA PAI NTINGS IN EASTERN ART
Bv LAURENCE BINYON
Tu frescoes of Ajanta have for Asia and the history of
Asian art the same outstanding significance that the frescoes
of Assisi, Siena and Florence have for Emope and the history
of European art. The whole course of art in Eastern Asia is
bound up with the history of Buddhism in its successive phases:
aml the student of that art finds himself continually referring
back to Ajanta as the one great surviving monument of the
painting created by Buddhist faith and fervour in the land which
gave birth to that religion. The frescoes discovered during the
last few years in Central Asia, in Khotan, at Turfan, at Tun-
huang, and other sites have only enhanced the interest which
the Ajanta frescoes inspire. Just as Mahayana Buddhism in its
progress and triumph through those central regions to China
and Japan flowed into new forms and absorbed elements from
other races and other religions, so Buddhist art in the lands
beyond India flowed into fresh moulds and took on a certain
character of its own. The points of resemblance between the
earliest and the latest Buddhist art are obvious enough. In
the modern Buddhist painting of japan the symbolism, the
types, the imagery are of Indian origin. But on a
comparison of the Buddhist painting of China and Japan
with the frescoes of Ajanta difi-erences equally remarkable
emerge. 1 t is true that the Ajantli series represents no
single effort, but a sequence spread over several centuries and
embodying several styles and tendencies. Yet, in the Buddhist
painting of the Farther East, as we know it, we cannot
but be struck by the absence of those features and charac-
teristics which are the chief merit and attraction of the art of
Ajant5. The supreme creations of the Buddhist painters in
China and Japan belong to an art of impassioned contem-
plation. And the objects of that contemplation are serene
compassionate figures- the figures above all of Amitabha and
his spiritual son A valokitesvara-painted, so to speak, on
darkness, and luminous in their supernatural grandeur.
Rarely is there any dwelling on the events of Sakyamuni's
earthly life: Sakyamuni himself indeed occupies a secondary
position. But in the cave-temples of Ajantn we feel ourselves

in the presence of an art of a quite different character for the
most part. The artists of Ajanta are far less at home in the
supernatural atmosphere, where celestial beings seem to float
of their own essence, than in the world of men and women,
of animals, of red earth, green plants, the sunshine and the
shadows. The most beautiful of their paintings are taken
from the J at:aka stories, the legends of the earthly life of the
Buddha in various successive existences. Here was oppor-
tunity for grappling with the rich complexity of life, and the
painters availed themselves of it to the full. There is no
reduction to formula. These men painted Indian life as they
it; and, though we feel the glow of a religious impulse
behind their creation, we are above all impressed with their
intuitive discovery of the beauty in natural movement, un-
studied attitude, spontaneous gesture. These are seized
upon with a genius for significant, expressive form. How
admirable too is their sense for the character of animals and
birds, the geese, the deer, above all, the elephant I
This fresh vigour, the exuberance of life, which contains
with all its the capacity for deep melancholy and
compassion, is the dominant impression left on me by the
contemplation of Lady Herringham's beautiful copies. Para-
doxical as ir may seem, these frescoes, for all their high
importance in the history of Buddhist painting, appear to me
more, in essence, allied to Western than to Eastern art.
They arc, after all, the production of a race originally one
with the races of Europe. And, though they are so penetrated
with Indian character, with its gentleness of movement and
suppleness of form, it is from pai1tting like this, showing the
same curiosity of interest, the same ardoLU" in grappling with
the visible world, the same underlying fervour of faith, that
the painting of Europe has been developed since the days of
Giotto and the Loren?.etti.
But it is a kind of impertinence in one who has not seen
the original frescoes to write about them; and I leave it to
l\Ir. Rothenstein, who has seen Ajantll with his own eyes, the
eyes of an artist, to record his actual impressions.


:!2
TilE l i\ IPORT OF Til E P.. \I NTl l'\GS I N THE HISTORY
OF ART
lh \VILUAM ROTHENSTEIN
l'r KII.\PS the most striking intellectual .Jiflcrcnce between
the mediaval the modern world lies in their respective
attitudes towards art ami science.
The mcdiaval artist had the high standard of conscience
and the technical probity we now expect from the scientific
mind, whereas the man of science was looked upon as alchemist
and astrologer. and accordingly often used fine gifts for
douhtful purposes. The medi:e1al mind was little interested
in an> save contemporaneous craflSmanship, while. on the
other hand, it cherished the belief that the key to true know-
ledge l:ty in the mysteries of the past.
To-d.ty the uf science has become the precise thinker,
the engineer the exact and beautiful technician , it is in the
painter's studio that the stuffed alligator and the astrologer's
chan now hang suspended. Neglecting the rich treasures we
could still obtain from living craftsmen, we have tluring the
last generation ransacked the world for of the art of
the past. I ndifTcrent to the corruption and destruction we
encour.1gc, so long as we can fill and museums
1dth the loot of ages, we hold all that has not been made by
the hands of our contemporaries as beyond price. \\'e are
right in regarding the art of the past with great reverence.
but not so much because it is rare and old as because no
garment the human spirit has once worn can be without
meaning to us. !\I an has ever put into the work of his hands
the most balanced expression of his conception of life. In
such 11orks he shows himself to be aware only of the beauty
and nohilit) of all forms of life, perceiving no meanness and
no discord. As creator he has for his ohject nothing short
of perfection.
It is because he has always had before him this standard,
impossible of realization, that his efforts carry within them the
significance vitality of life itself. To others he leaves
the task of speculati1e inquiry. In the material face of the
world he sees the real and the ideal as one. To him the
lolclincss of the physical fabric of the universe has been the
most s.ttisfactory answer to the riddle of life, helie\ing, as he
does intuitively, that whatever forces underlie appearance are
aclUally expressed by appearance. If the visible world be
illusion, it is a noble and significant illusion which interprets
a noble ami significant reality.
It is the artist's unquestioning obedience tO the hidden laws
of form which gives to his work a power tr.lnscending our
conscious kno1dedge, and which, in contact with the mind of
the spectator, a feeling of exaltation and au added
sense of the intrinsic l'alue of life. For this reason the vriestly
caste has everywhere been quick to make use of this power
inherent in 110rks of art. Hence the temple or church is
ever) where not .1 mere illustration of the creed and ritual
practised in each age and each locality, hut the powerful
symbol of the renlities upon which all creeds and all ritual
are based.
The rock escarpment at Ajanta is itself one of those
marvellous architectural feats which Xature herself some-
times performs, as though to point the way to m;m in his
conception of temple and fortress. Here was already a place
symbolizing the vast forces of nature. Indeed, when in com
pan) with L.'ld)' llerringham and :.tiss Larcher I visited Ajant.'\
four ago, to leave the magnificent scene outside and
step within the dark and close-smelling Chttil;lli and l'ihar.rs
1\'a.S at first to feel disillusioned. But the mind soon attunes
itself to these conditions, and slowly there emerge through the
dirt and neglect decay of ages examples of the painter's
art more complete perhaps than any which remain to us from
ancieut times.
In spite of the ruinous condition of the wall-paintings them-
selves, we must account it good fortune th:n the small interest
hitherto felt in Indian line art, as well as the great difficult)
of the undertaking, has happily prevented the attempt to carr)
away any of these paintings from the walls. The trouble the
tra1eller must give himself to see them invest!> his journey
with something of the character of a and not
having, as is the case in the museum, a hundred other objects
he may be curious to sec, he is able to devote himself entire!)'
to these paintings and to lend lllmself to their innuence in
much the same W:l} as a pilgrim may have done a thousand
years ago.
1\l r. Binyon, the most discerning student of art we
have among us, i' inclined to consider the J\jant:l paintings
less spiritual than those of the great Chinese painters. But
it must uc remelllbcred that the Chinese, like ourselves,
borrowed their religion from an alien civili1ation. The fig11re
of its founder came to them ready symholiled, as it were
and far removed from any actual physical and social rcla
tions. They alread) possessed a highly del'clopcd art of
their own, the character of which had grown naturally out of
their own social life and mental outlook. \V!ten with the
new religion they adopted the Indian formulas ami symbols,
they kept these from the ordinary practice of their
art. and so developed a highly specialized hi<:rntic quality, the
rarest and most remote perhaps the art of the painter has
ever expressed.
To the Indian mind Buddha and his disciples were more
actual figures, 11itl1 positive relations to their 011n social world.
The places where the) lived and taught were to them definite
places, to which the)' themselves could at any moment make








THE IMPORT OF THE AJAl'JTA PAINTINGS IN THE l IISTORY OF ART 23
pilgrimages. Although at the time of the Ajantli paintings
they had long formulnted their materialized conception of
contemplation and renunciation, the unique importance of
which has never been ad!."<Juately acknowledged, they had
not yet crystallized it into the rigid moulds we have now
come to associate, often very falsely. with Indian art. Nor
was there that separation between the social and religious
traditions which I have alluded to as existing in Chinese art.
It is this broad and comprehensive outlook upon life as
a whole, giving to its spiritual quality a sane and normal
relation to daily existence, which is so important and delight-
ful an element in the Ajantii paintings. Here we find the
artist unconsciously expressing that wise element in 11 indu
religion which insists upon man first living the life of the
householder, providing for his children and performing the
common social obligations, before he can give himself up
completely to his spiritual needs. In these paintings we get
a reSection of that dualism in man-on d1e one hand his
passion for activity, his curiosity, his delight in beauty and
the pleasures of the senses, his daring and adventure; on the
other his inner reaction these very things, consequent
on the unforeseen disasters and inevitable injustice and cruelties
which follow on his many restless and experinlental activities.
On the hundred \\ails and pillars of these rock-caned
temples a vast drama moves before our eyes, a drama played
by princes and sages and heroes, b} men and women of every
condition, against a marvellously varied scene, among forests
and gardens, in courts and cities, on wide plains and in deep
jungles, while above the messengers of heaven move swiftly
across the sky. From all these emanates a great joy in the
surpassing radiance of the face of the world, in the physical
nobility of men and women, in tlle strength and grace of
animals and the loveliness and purity of birds and Rowers;
and woven into this fabric of material beauty we see the
ordered pattern of the spiritual realities of the universe.
It is this perfect combination of material and spiritual
energy which marks the great periods of art. At other times
this balance is lost, and one or the other is insisted upon with
too marked an emphasis. Each succeeding age tries to
readjust the balance as it may, until at last that balance is
restored, and again we get this supreme quality of proportion
and unity.
In the copies here reproduced Lady Herringham and her
able lieutenants have been successful, through their perception
of this characteristic of the Ajanta paintin.,o-s, in conve}ing
a great deal of the passion and energy of the original forms.
They wise!> made no attempt to register the exact condition
in which the> found the original paintings. But both by
their selection of subjects (no easy decision to come to among:>t
so wide a choice) and by their appreciation of the bcaut y
and significance of these, they have been able to interpret the
spirit of conception and of execution in a remarkable way .
Their unselfish labours wilt give a fresh stimulus to the
newly awakened interest in Indian Art, If work like this were
also to give people, both in India ami at home, a clearer con-
ception of the qualities they may expect to get from contem-
porary artists and craftsmen, it would be helping a greater
thing than scholarship. In the amazing energy and resource
of our commercial enterprise, in tlte passionate attempt to
improve our conditions through science and social reform, in
tlle marvellous triumphs of our engineering genius lie our con
tributions to the upward struggle of mankind. Shall we ask
no worthy e.xpression of our ideals and achievements from
contemporary craftsmen? Are we to remain satisfied with the
trivialities and insincerities which fill our current exhibitions in
London and the great provincial centres ? Where but a cen
tury ago were a few scattered villages, huge cities now stand.
Should we not expect to find in these many records of the
energy and gallantry of commercial enterprise ? Yet in one
city alone can we discover a high expression of the significance
of local history-I refer to the decorations by Ford Madox
Brown at :\fanchester.
If such reproductions as are here presented are to serve
a fruitful purpose, it will not be by the discussion as to
whether or no these Ajanta painters were infiuenced by the
!J:linting of Greek artists, but by showing how enduring is the
life of a noble vision and a vigorous execution. There is still
enough left in these paintings to inspire a whole generation
of Indian and European artists, and to point the way to
a more intelligent pntronngc of the arts. The Church has
long forgotten her own great mothering past ; the aristocracy
is cautiously in reaping the harvest sown by those of
their ancestors who had d1e intelligence and courage to employ
their own contemporaries; while the democracy, occupied
exclusively witll its own material improvement, has not yet
awakened to the po" erful support which the passion and
sincerity of artist and craftsman can lend it.
The most ''ita! of human industries are thus the subject of
caprice. and are left dependent on such insight as the private
patron may possess. It is not through such hazardous chance
that the work we are here concerned with came into existence.
The passionate expression of material and spiritual beamy
which we find throughout the Ajanta paintings is not the
result of any accidental inRuence, Greek or other. Such
passion comes, like the blows of a woodman's axe, from
a long-trained ami consistent will behind it, driving it at the
same breach but driving it ever deeper.
So true is the psychological character of these paintings, so
remarkable the delineation of human and animal forms, so
profound the spiritual portra> a! of Indian life, that thcr may
still serve to-day, in the absence of contemporaneous works
of the kind, to represent the culture and character, rapid!)
changing though they now be, of the Indian people.

'



24
BUDDHIST CAVE-TEMPLES AND T HEI R PAINTI NGS
Bv F. W. THOMAS
C.wes seem to have been in India the earliest form of
architecture in stone. They arc familiarly mentioned both in
the legend and in the surviving inscriptions of the great
Buddhist emperor A5oka (c. 2;5-235 B. L); and during the
following live or six centuries they arc constantly mentioned
as an object of pious donations. They had not, however, an
exclusively religious destination: from a number of literary
allusions it is clear that the) were used also as pleasure resorts
and for theatrical entertainments: indeed a cave has been dis
covered (in the Ramgarh hills) provided with an auditorium, it
has been-perhaps too hastily-thoughl, in a style more or less
Greek. But doubtless the re.ligious character prevailed. From
the first the caves will have served the double purpose of
residences for monks and ten1plcs for worship. The two kinds of
excavations, commonly distinguished as Viltlirns (monasteries)
and Cltait;a halls (i.e. halls containing a Cllllifya,or shrine), have
therefore equal claims to antiquity. They continued to be made
in close conjunction until the end of the Hindu period in India:
and many centuries previously the practice had been carried to
Afghanistan, Central Asia, China. and Tibet. where the caves
are to he found, in some instances still occupied, even at the
present day.
The architecture of Ajantii has been so thoroughly dis
cussed in standard works, such os those of Fcrgusson,
Burgess, and Griffiths, and is so well known from illustrations,
that upon this subject hardly anything need be stated here.
The caves were usuall) cut into the sides of cliffs. Their
main archirecwral features arc their ornamental portals and
vestibules, and the pillars supporting the roofs. The style in
the earliest examples. and even in the later ones, bears the
most obvious marks of having been copied from edifices in
wood ; indeed for a long time the use of wooden roof-beams
having no structural justification continued to prevail. 1-'ltcr
the roofs also were chiselled in stone. 1 t is well known that
in some cases temples have been actually carved out of the
living rock with internal and external <.lecoration all in one
single piece. Astonishing examples of this are to be seen in
the Kailli5a temple of the Brahrnanic Saivites at Ellora and the
temples at Mahabalipuram.
Such excavated buildings, which in their main features were
practically indestructible-only the vestibules and porches
being obnoxious to the mvages of naturally of great
interest ; and they provide incorruptible for the
history of architectural changes in India. But they have also
served as a vehicle for the preservati011 of nearly the sole
examples of purely I ndian painting which have come down
to us, the exceptions being a few earl) frescoes preserved at
Sigiriya, and elsewhere, in Ceylon, and the miniatures adorning
certain old manuscripts from Nepal, which, if they do not
tbemse.lves go back beyond d1e eleventh century A. D ..
represent a tradition of long standing.
There can be Httle doubt that the art of painting is older
in India tl1an architecture itt stone. 1t is mentioned in the
earliest Budilltist scriptures, and also in Brahmanical works
(for e.xample, t he .Jifaht16hlira!a and reflecting the
same period. These books speak already of painting on cloth,
painting on boards, and painting on walls : but the most
frequent references arc to painted chambers, i.e. chambers
having their walls decorated with frescoes. The lauer are in
later works the subject of some striking Jescriptions, the most
inte:resting of which are cited in 7\lr. Havell's luditm Smlptur(
n11d Pni11liug (pp. 156 6:;). Drawing, especially drawing of
portraits, seems to have been a normal accomplishment of
educated persons, both men and women ; and sketching with-
out the application of colour must have been quite usual, as
we sec in the from Tibet and Central Asia, and in
the cuts illustmting many Tibetan books.
It is interesting to read that the adornment of
with paintings of human forms is said to have been denounced
by Buddha himself; and he also forbade his monks to visit
the palaces and painted halls of kings, and Jlrohibited the
wearing of dress witl1 painted figures. In the Viltlirns the
utmost that he would allow was the representation of garlands,
creepers, conventional ornament, and symbolical figures.
Corttrast with this the later, though still early, tradition which
puts into the month of Buddha directions such as these:
'On the outside door (of the riluira) you must hn\'C figured
a Vakslta holding a club in his hnnd ; in the: vestibule you must bave
represented a great miracle, the five divisions (of beings) of the circle
of transmigrntion ; in the courtyard Lhe series of births (jtitnlns);
on the door of the Buddha's special apartment (grwd/m.ku!f) a l'n!u!m
holding a wrcnth in hb han<.l; in the house of the attendants (or, of
honour) Bhikslms and Slhm4rns arranging the d/l(lrlfl; on the kitchen
must be represented a l'nksltn holdlng foo<.l in his hand; on the door
of the storehouse n Ynkjha with an iron ltook in his hand; on Lhc
water.housc .Ytigas wiU1 various ornamcnted vases in their hands; on
the wash-house foul sprites or Lhc creatures of the different he lis; on
the medicine-house the Tnthiigala tending the sick ; on the privy all
is dreadful in a cemetery: on the door of the lodging house
a skeleton, bones and a skull.' GrUnwcdcl, /JmfJ!tisl A rl ;, fudill,
trans. Gibson and Burgess, p. -16 and rcff.
A complete scheme of decor.:ttion has also been traced by
Dr. GrUnwedc:l (to whom we owe also the above citation) in
some of the caves of Chinese Turkestao.
These indications seem to suggest a view of the history
which lies behind the fresco decoration of the Ajama caves.
\\'e commence with the palaces or picture-halls of kings,
which are, no doubt, imitated in the public places of entertain-
ment found in every tow11 and village. From these tl1c use
of pictorial decoration passes to the pleasure caves, brilliantly
lighted for evening entert..1.inments, and perhaps to the stone
temples of the Brahmanic deities. Buddhism, at lirst puritan
in this respect, ultimately adapts itself to the milieu, until

...





--




BUDDHIST CAVE-TEMPLES AND THElR PAINTINGS
painting, and even a scheme of painting, becomes a normal
feature of its temples and monasteries.
The application of painting to rock-cut sanctuaries is in
some respects surprising, since, in spite of t1tc spacious
openings which fomted the upper part of the porches, the
interior light must have been, even in favourable cases, a dim
one, and in others exceedingly faint. The artistic processes
employed are discussed above. The manner of the execution
constitutes a problem. I low were these huge compositions
carried out in their ample and crowded designs and their
scrupulous detail and firm lines upon walls and ceiling:; reflect
ing only a dim religious light? The use of lamps may account
in part for the details. l3ut even t1tis partial explanation
lc.wes an unsatisfied question as to colours. '' hich were both
(at times) dogmatically significant and artisticnlly delicate and
harmonious. The only plausible suggestion must be that
the frescoes were actually planned and executed in broad
da) light, and subsequently reproduced to scale (or stencilled)
in the interiors. Even this explanation would postulate
a remarkable quality of hand and vision.
Excepting t1te caves of B:igh in l\!alwa, \\hich arc the
subject of a projected publication, tJtosc of Ajanta arc alone in
preserving any considerable remains of Indian fresco-painting.
The situation and disposition of theAjant.agroup arc sufficiently
described in the statements of Sir W. and Lady llerringham,
and in the above-cited works of F ergusson, Burgess, and
Griftiths. The dates, which are determined not only by con
siderations of style, but also sporadically by the more precise
evidence of donativc inscriptions, range from the first or
second century A. o. to the sixth or e\'CD t1te seventh. Only
in a portion of the caves I, If, IX, .\', X 1'1, X I 'J 1,
XIX, XXII) are there any considerable remains of fresco
decorntion, which in some instances (paralleled in e.xisting
Tibetan and Ceylonese temples) must have covered the
greater part of the interior ourfaces, including porches and
vc:.tibules, the pillars, the spaces above and between the
entrances to shrines and cell:;, and finallr the ceilinl:,rs.
A complete photographic record of what still survives is. it
is satisfactory to know, in contemplation, and even in part
alrcndy carried out: for the present we must be thankful for
the indications furnished by the coloured outlines accom
panying the plans in 1\lr. Grilliths's work and the descriptions
contained in the Nulcs of Dr. Burgess. The time has not
come for t1te recognition of comprehensi,e schemes of colour
and subject, although a certain symmetry and balance 1113)' be
traced in the choice of subjects for the decoration of \ V 11.
The reproductions in t1tis volume must accordingly be reganled
frankly as fragments, having a higher \'3lue for the purpose of
artisuc appreciation than on the archa:ological side. Of the
subjects some are susceptibh: of immediate recognition, while
others can be described only in vague and general terms.
The painting in tlte eaves has an exclusively reliJ,oious
significance, and in its object it is strictly analogous to t1te
sculpture which adorns the topcs of Sai\chi and Dharhut in
Central India, and the great monument of Boro-Budur in Java;
similar ornament is now abuncktntly illustrated in the ruins of
the Buddhist sanctuaries of Chinese Turkestan. It is not to
be supposed that the entire pictorial decoration of each cave
was planned at tlte outset; although there are not a few
examples of great compositions and series of consecutive scenes
which must have constituted a design. Under some
of the figttrcs and scenes we find indeed paimed inscriptions
which show that they were the fruit of some pious donation.
As in the case of a Christian cathedral, the decoration was
therefore a work of time; and there is evidence in scveml of
the caves that it has been replaced, one scene being found
over!) ing another. l n regard to painting, however, we need
not allow too a period for an individual cave. The
monks in charge of t1te temples and monasteries will have
been industrious in completing the task, whether with their
own hamls or by tlte aid of contributions which they collected.
In fact, the writing of the different inscriptions in each cave
is generally of quite t1te same period.
As regards the subjects, we must begin by distinguishing
between decoration, portraiture, and narration. The decora
tion would include, besides patterns and scrolls, also figures of
animals, flowers, and trees : then again those of fabulous
creatures, monsters, and mythological beings, such as
with a hurn:1n bust joined to the body of a bird, or
snake-powers, generally having the form of a man haloed witJt
the hood of n snake, Garu<fas, t!llgle-ligurcs of the enemies of the
JVa,t;<H, Yaksluzs, spirits of the air, Gandltarva.r and AjJStzrases,
minstrels and nymphs of lndra's he.wen. Coming tO what we
may call portmits, we should not often find isolated representa
tions of the Brahmanic divinities, who, however, frequently
appear as attendants, or playing a part in the Buddhist scenes.
The detached figures would include the Loka)iilas, or guardians
of the world-quarters, who were often depicted at the entrances
in the capacity of Dviirapdlas, or guardians of the gates, the
various Buddhas and Bodhisattvas, the former distinguished
from mere monks only by their uslt(isha, or protuberance on
the top of the head, or interciliar spot, and pendulous
ears, the latter richly jewelled, like earthly kings. There are
also portrait groups, of which the most important are the
' Tutelary Pair', consisting of P.1nchika, generalissimo of the
god of riches, seated side by with his \vife ll:iriti,
the goddess of children, or the latter in the ' \ladonna'
form, suckling her youngest born Pirigala amid a t,'Toup of
her other oiTspring. The Buddhas themselves appear in
various postures, generally seated, following the prescriptions
of the books, which distinguish the different significant
111111frus, or gestures of tl1c hands, indicat.ing the teaching,
protective preaching, or testifying purpose. Among the
scene:. thcntsehes we should first of all the
traditional events in the earthly life of Gautama Buddha,
the most important being the binh, the abandonment of home,
in which Buddha is seen riding his good horse KatHhaka,
while the gods hold up the hoofs to prevent any treacherous
sounu; the ' I Jlumination ',generally in the fonn of the double
attack b) the daughters and the army of Mara, god of love
and death ; the preaching to the gods in the heaven of lndra ;
and the or death, in which Buddha is seen lying
upon a couch This does not, however, by any means exhaust
the customary scenes from the actual life, which include further
the various miracles connected with different famous cities,
such as \'aiSali, Sravasti, Rajagriha, the visits of
kings or rival teachers, the quelling of various monsters. An
important place in this belongs to what h:ts been

.m BUDDHIST THEIR PAINTINGS
termed the Transfiguration Scene', in which Buddha creates
a lioublc, am.J other doubles, of himself, with "hom he holds
converse; a scene specially notable, as accounting for many
compositions where groups of Buduha-> are to be seen seated
npon lotnsc>. It is in these scenes from the life of l:luddha
that the Urahmanic.ll gods generally appear, either as spec-
tators in their he;wens, or often, in the case of lndra and
Brahma, in attendance upon him on either hand. T n this
counexion we must not fail to make mention of the
or thunderbolt-bearer, who has been \'ariously identified with
with Kuvera, the god of riches, with the Buddhist
Dharma, or religion, srmbolicallr rcpresente<l, and with the
guardian spirit of Buddha. Ther" remain the narrative
scenes, relating the stories ot' jalal:as. These celebrated
fables, of\\ hich various collections exbt, botl1 in Sanskrit and
in Palt, consist for the most pan of popular tales from myth,
legend. folk-lore, anecdote, which have acquired a religious
,alue by the idcndfication of one or other of the charncters
with some pre\'ious incarnation of iluddha. It is quite need-
less to state how large a proportion of iluddhist painting and
'culpture occupied with such tales. Finally we may make
mtntion of scenes depicting actual or pretended historical
,. , ents, such as the visit of Asoka to the Botlbi-trce at Bodh-
Gay:i or the invasion of Ceylon by Vijaya. It is well
1-nown that at Ajanta one large scene in Ll111d I has been
supposed to represent the visit of a Persian embassy from
Chosro"' 11 (A.IJ. 590--628) to the court of an Indian king.
The artistic valuation of the painting is contributed by
l\1 r. Rothcnstein and :\lr. Binyon. But there are a few points
of a philological character, which call for some e::lucidation here.
In the tirst place, it is to be remarked that in apprizing narrative
pictures. or historical and legendary scenes, it is plain!)
impos:;iblc to do justice to the painters, with their cdif) ing
purpose. in the absence of a knowledge of their meaning.
llere, unfortunately, we are presented with a number of
formidable difficulties. The reading of pictorial stories is in
Buudhist literature rendered specially difficult by tlte not in-
frcquem co-existence of widely differing versions, so that we
must know the text which the artist has undertake11 to illus-
trate. l f this applies to scenes where the whole composition
lies before us, how much more is it so in connexion witl1 the::
fragmentary remains of Ajama, saved from the destruction
of their entire context?
liut not even in regard to isolated figures can we entirely
dispense 11 ith interpretation. Before we can judge of a par-
ticular lluddha or 13odhisattva as a work of art we must, if
11e are to preclude self-deception, ascertain his name anti
(JUJCCt, how much in him is typical, cotwcntional, and sym
holical, and ho'1 much is to be attributed to the living
imagination of the artist. A nu the same applies. though in an
inferior degree, to other figures, and even to decorative forms,
\1 hen they have a symbolical value. Fortunately, after all
these Jeductions there is ample material for a strictly aesthetic
appreciation.
We shall therefore be justified in touching upon a few matters
of this nature, and for convenience we will consider them under
numbered he.1tb.
1. In the Jirst place, it may be asked whether in these
paintings any value attaches to tl1e use of to/our,
a question much more easily asked than answered. \Vc have
indeed abundant evidence to prove that in m111tatures of
Buddhist divinities the colour of the face and dress, as well
as the remaining adornment, was minutely prescribed. But,
as tltc colour seems to have varied with the occasion. and also
with the grouping. it does not seem possible at present to
deal with the i\janta paintings from tlte point of view of such
S)mbolism.
i\s authorities on tllis subject we may cite Kos. 9, 15, 16,
JO. 39 in the 'Short Bibliography' gi,en below.
z. In regard to proportions and outlines a not dissimilar
obsenation must be made. From tl1e literal) sources and
from actual observation of modern practice in working it is clear
that many, if not most, of tl1e figurl-s are composed not simply
as an imitation of realit)', but in view of some ideal scheme
rather precisely conceived in numerical terms. Allention
has been verr pcninently drawn to the connexion which
in tl1c case of Indian art existed between design anti tl1c
science of physiognomy, itself elaborately detailed. The
bodily marks and movements are eardully scrutinized in
India, both practically as indications of mind and theoretically
as having an auspiciou:> or inauspicious character, ami also
artistically as excellences or defects. All tl1ese points of
view would be [Jrescnt to the thought of the artist, ami the out-
come would represem, apart from the skill or idiosyncrasy
of the individual, not simply an artistic conception, but
a conjoint ideal, embodying the appropriate combination of
beauty, auspiciousness, and sig-nificance. l n the case of the
'Great Being, whether lluddha or some other supernatural
person, there exists a familiar list oi 32 /al.-shawlS, or auspicious
marks, together with 84 minor signs, termed amtVJ'ttiljai/M.
The reader who wishes to pursue this subject may consult
6, 8, 23, z6, Z7. 34. 40, 54. s6 in the' Short Bibliography'.
3 As regards dress and emblems, we may begin by
referring to what has already been stated in reference to
Buddha. The Buddha figure, unlike those of the J ain
Tirthruikaras, is never unclothed, although the dress is some-
times ratlter faintly indicated in outline. The ordinary
costume of a standing Buddha, and it is the same, though
less obviously, witl1 tl1e sitting ones, is a robe of Greek type,
copied originally from that of the Lateran Sophocles. Bodhi-
sattvas arc attired as Rajas, having richly jewelled head-
dresses, necklaces, arm-b.mds, and the like, and thdr lower
:;arment secured round tl1e loins by a jewelled scarf, which
hangs down in front as far as the fet:t. Ladies of rank arc
distinguished by a faintly indicated jacket reaching to the
waist anu detached from the lower robe, which is encircled at
the hips by elaborate girdles of jewels : the transparent
texturt: of the gnnuents creates an illusion of nudity. Other
types, castes, &c., arc apparently provided with their ch<tr
acteristic attire, concerning which, however, nothing further need
Le said. (Sec l\Ir. Grifliths':; work, vol. i, lntrod. Pli 7- 22.)
As regards emblems, it will Le sul11cicnt to mention those
of the chief Dodhisattvas, the llask of 1\'laitreya, the lotus of
Avalokitdvara, the sword and book of l\ laitjusn, referring
for the rest to Nos. 5, 15 16, 18, 21, 26, 27, 28, 29, 30, 31,
32, 33, 41, 43, 44 45, 47, 56, 57 in the' Short Bibliography'.
4 The gestures of tl1e hands have beeu alreadr mentioned
as sigttil1cant. A reader desiring precise and iliLLStrnted
information upon subject ma) consult Nos. 5, 15, 16, 1ll,
26, 27, 28, .)O, 31, 56 in the' Short Uibli<>l,rraphy .
,

...

..




-


SHORT BIBLIOGRAPHY
OF WORKS TREATING OF ANCIENT INDIAN PAINTING (SCULPTURE NOT EXPRESSLY
OR OF BUDDHIST I CONOGRAPHY OR MYTHOLOGY AS REPRESENTED IN ART
1. Binyon, L.
1
AzinJing in llu Ftzr Easl; Off lN/r(Hiutti'oll to IM AiJ/QI"}' of
pl&torial art i11 Asia . . . Second edition, London, ' 9'3
: . .Bioch, 'l'., lltj><Jrt of 1/11 Arth.wlogiml Suf'IX)' of Jndtil, llmgal
Cirde,for tlw )'tor ellling wit/: AprilllJ04 Calcuun,
3 - - and liiJtriptiims ;,. R1imgarll, in A n"/l.tq/ogit'<ll S11rwy of
Jndi11, Amuallleport, 903-4. pp. l23-3'
(These two wurks giw an nccoum of the caves, which
an: Mated to 1>resem: troc"" of wnu: \'ery Mcient fr=oes.)
4- DrinutSa'l'"itii (translated by l'rofessor H. Kern in the journal of tlw
llo)al Asitrlk Stl<itJy for chapter lviii (proponions of stutues).
S Burgess, J., Notes 011 lilt Ilauddlta llk-Ttmplu of AjaNia, tlwir paintings
and mtd pui11tings 1!{1/rt llagh toUs, modtrll Dauddlt,r
mytltology, 6:-f. ; with au appendix by Pandit BbagvMlAI lnd1aji on
7k D11uddhn of Ntpal. (Bomb.,y, t87g-.-lrduwlopiul
Surwy of Wutmt Jndia, No. g.)
6. -- Lis/ of Pltot!lpllphk 1\'q:ativu of Paintings tvpitd fmn tltt
Ajanta Carx.s 6ttroctlt 1872 and t88J, o1tthe CWtriiJJttllt Stltoolof Art,
.Hom!Jay. Edinburgh, 1889. (Copie.. of mo.t or the photographs
.,xist in the Library of the India Office.)
;. -- 1'/te A11ttimt .lfomtmcnls, TtmjJ/41, ,,,,{ Srolplum of
illustroltll i11 a ren'tt of rtpi'Udutfions, 6:-f., 6:-f. London, ,s
97
- 1
9
1 r.
(Vol. ii, mt!direal monurucnt>: J\junlfl, plAtes 18o-2o8.)
8. Coomaraswamy, A. K., ;lftdktlal Sinhalut AI'/, Brood Campden, 19o8.
(Ch>pter h, d<'SCriptions of mythological figures, &e.; appendices to
chapters iv and \'iil, proportions of figures, as lllid down in seve!lll
Sinhnlese "orks of Indian origin ; chapter ix, procedures in
1
.a;otiog;
pi. VD] ' modern painted Vilriira interior.)
9 - - ,Votu 011 Jaina Art in 1'/tt jqumal uf ,Jrl ami JltduslfJ,
vul. wi, pp. Sr-<)8 (particulars of colours, &c. ; piAl<'$).
to. -- Rajpul Ptuittlitg in Ostusiatistlu uitsdtr{/t, vol. i, pp. t:S-39
t ' -- Arts and Crofts of huli" a11d Ct;-lon. London, 191 J (Chapter on
painting.)
12, Fergusson, J., l!tiltJT:J of ImJlan aii(J Easltrll m,ist.d a11d
tdited, rot'tll nddifl'ons james Du'),rss Md R. Plrtnl Spirrs, 2 vols.,
London, 9o. (Vol i, pp. us-oS, caves of AjnU, &c.)
IJ. --and J. Burgess, Tlu: tatv:-ltmplcs of h1dtir. London, 188o. pjnntil,
PI> So-349)
t Faliiial of Emj>in Exlri6itum; Olllrt, Guide Bti<Jk a11d Catalo;;ut.
London, '9'" (Articles on \jant5 by V'toccnt 1\. Smith and
Lady nnd oo Central Asian pictures by Sir M. A. Stdo.)
1 .;. f'oucher, A., du ptinlu,a 11/prlalies <.lti'bltaints dt ''' rol/utlan
D. 11. Hbd;;son. (Institut), 1897.
t6. -- sur NnmogroplritJ)()uddlu'ofue dt find<. Paris (Bioliotlr(1Jut
de f dts l:la11ttt Etudts}, 1900 nod 1905. (l'articulars of
divinitk>s and groups, dress, coloUlli, attributes, &c.)
q. -- L'tlrl lNJudlilti'}Ut r hule d'crprh un Iron rlrml (.-lllltDid du
lfi11l< Guimtt: llrouc de r flistoire Rtlipims, vol. """I'P-J9-7t ).
t8. -- 7'1tt Dtgimlingt of Buddhist olrt a11d uthcr E1111ys 1n /ltdlan
Artlt"ulugy. Paris and Londou, '9'5
19. Franclte, .\. H., A11/iguih'tJ 4 lndtan 1fl1<1, vol. t, in Arrltrtologuul
Surwy 4 l11dia, . l'u Imf<rial Scriu, voL xxxviii, Calcutta, t9t4.
(Buddhist frescoes in Tibet.)
:o. Gautltu of tltt 1Jom6ay PresidliJ', edited by Sir J. M. Campbcll, vol. xii.
(Khandcsh}, Bombay, t88o. (J!p. 489-574, AjanL\ Caves.)
71. r.etty, A., 7k Gods of Norlhtr11 1Juddl1tim: tMr /JisfbfJ', 6:-t., &r.
Oxford, 9t4, (Figures of Buddhist divinities, &c.)
22. Goblet d'.\lviella, Count. Ct gut ff,dt doit o tu Gntt. Paris, 1897
(pp. 86-94, painting).
:3. Godwin-.\usten, H. H., On tfl< S)'Jt"n tmjllo;td ;,. Oullllring lltt .Flgum o/
J)dtits and otlrtr Rdipims DTirwlngt, as in J..adalt,Zasllar, 6:-t.
(.foumJJiof tlte Asialit Sitt; of Utng,rl, 186ot. pp. 15 r-4).
Goloubew, Y., Ptint11res 6uuddhitjuts au..t JJU!es (AIInalts du illuslt
Guimtt, Bib/iolhl9Mt de tome si). Paris, t9 '4
(PhotO{lmphs or Ajantft paintings.)
25. Criflitbs, J ., Tltr Pai11lings iit 1111 Duddltisl of Aja1111i.
A"'rnmkslr, hlllia, 2 vols. London, r8g6. (Two magnificent folio
volumes with large plntes.)
,6, Gr11nwedd, ,\,, Duddhististlt( Kwnsl ;, f11dim (one of the Band6Htlwr <ltr
kom'g/icltttr .lfusan Dtrlitr: Jllusmm fnr I!QIIlulumde), second
edition. Berlin, 1900, (Vcty importan1 in regard to Persian nnd
Creek in6uences, 1he rypes, dress, attributeS, of Buddhist images;
many illustrations.)
7 -- snn>e tra.nslatt!d, with addition,., by J. Burges> IIJ'ld Mrs. Cibson.
London, 1got.
>8. - Jlf)llw/o;,'t da IlutflillisaJus in 116tl ulld dtr Leipzig,
1900. (Many dis<!ussions and illustmtions uf types.)
29. -- Otrirltt fllltr Ar6titm ln [Chinese
Turkestnn] 1111J (JmgdNag tin Jrinftr 11)02-L90). Munich
?o6
JO. -- All6uddlltilisdte Kwltstlflltff i11 Turkuta11. Berliu,
'?"
(These two latge works conlllln very numerous coloured and other
illustmtions, with abundant po.niculars concerning schemes and details
of frescoes IIJ'ld other paintings, mytholosic.l interpretations, &c. ; the
second is very nmply indexed.)
3' -- 06'llllr s<r,wi)'a j>rtdmdO'O ftlmllJ'I"tiJ,'iJ """" Kn. E . .E. llrltto/IISRIIJ:Q
(Di6/iotlttm lluddl!ica, \i). St. l'etersbu'l!,. 1905. (Figures o(
lluddhi>t divinities, &c.)
32. Hnckin, J-, E.j><Jsilion ltmjoraifY "" ,lfusl't (./Jrnuks du .Vutit
Guimrl, Oillljqtliqut dt Vu/g<lrimlio!f, tome Xl"iii). Paris, 1 goB.
of Buddhist figure>.)
33- -- L' tiWfllilf tlf Ctlll<dion dL .JJ. J. Bat"/ txposle a11 !lfust.
Guimtl. Paris, 1911. (Paniculars ofBuddbist figures, preceded by
n discoul'6<: <>n Tibeton nrt by M .l.lacot.)
J4 Hadllwny, IV, S., SqfM Hindll Sllfa' Slt<utnu in tlrn'r rtlatioJt to Squtlt
Indi(ln Srolfllrre in Ostasi<1tudte Zlilultrift, vol. iii, pp.
( l'roponioos of figures, &c.)
3S Hncll, .B., b1dian Sculpl111't u11d Pai"liff$, illusiNitd 6] lyj>tiul Jtttftr-
flttrs, with a11 ..:p/,natiim #/ tlwir lll()tifJ<J u1td ideal;, London, 1908 .
(See esporially pp. 156-63, concerning the to painting
in Sanskrit
36. --7'/w lltitlff and of Jndia: a r/Jtli)' of fltliD-
AfJ'Illl tivilioatiO!f. London, t915, (AjanU, pp. 14<>-SJ)
>

\
SIIORT BIBLIOGRAPHY
37 lltmnghaut, Lady. 1M Fns<J of in the hwrfiltJ;fM .lfza:i,
1910. Pp.tJ6-8(ithonccolourpl.ttecone>pondin;roSo. XX\'
JS. - - JP;rifll#ll #f flu A;alft.s CGtYs '"'" of flu Frr11, .;;., . on T
ft tr.al #f INI1a11 Art, ol. pp. 57-6<>. (Reprodueed front
"\' u.)
lY lluttcmann. \\ , .Vi,iahlrtll nmt .Jhramnla 10 tk JJaaslt' Al'tAI"o for
''I'J IP. 47-77. (P<tnicuhrs of colour<, symbol<, on

40. I..Au(cr, ll., /NitltlfU"I' :11r ilftliJtlulf X1111st: Erslu lltft, ,l/altrri. 1),11
nada don li6<1isdam 1lzlfjllr Jur,111J,I(tgtA ,,.J u6<ntl:t.
l.<:ipt1g, 1913. {An earlJ S;mskrit manul of painting lnlnslated
from tt Tibetan versiun, with introduction containing panicubq of
:>.IU\I}ar \\'Ork ... &c.: the te:\t de-.Us chiefly "ith pmpor1iOns, &,,, O(
lluddhi't imogcs.)
I' l.c Coq, .\. >on, Cllolttltu. Faaimilt- Wittkrgakn lftr witlrligtrtn .FIInlft
dtr nttn !ttlliglidljJr<UJiistlltn Exj'<<il'tion natlr 1lu'fill> ;,. Vst
7lidistan (Ergt611ilst dtr kP, frtunis;lltn 1Juf.tHE.\frditiontn).
lJcrhn. 1913. {\ plendid elephant folio \lith rcproducrion of
Ccntr.tl -'"an

&c.)
1 \ul>k, L. (' Si>tcr Nhediu 'l, Footfirlh f /11Jian lililvf). l.ondon.
1915. (pp. (oo-IJ7
13 O!tlenuurg, S .J ', SAmriR l.Wra:mioJ 300 Dunlla111 j'O .1/6<111111 ..l.ial
""''J" (Bi6/wtllt.:.:z Brddlutil, '> Sr. l'erersbul')<. 9oJ.
t 1 ;uod po.rt1tulurs of 300 Buddbist di onillt'l, &c.)
H - Orr smt stJ/phlr<t a11J .titloria/ nfrtSMiatioiiS of tilt Jlu.!lfhisl
.J.t/,.Aas of BlrarJr11t
0
iiNI {furlffl/ cj IM
./.,.mrn Orinrtrrl ,S,.icl), \'01. pp. (ldenufications
uf ti
0
uro:'i and scenes.)
45 l'Jndtr, E., J),u .In Tselwgi.W.a '"' /lnlnt;: IUtr
'"""J:rufhtt Jcs /.mri;ZUit11tS (KNu'c'licltt .IFIIstn .tal I rnlJif.
QIIS Jail J:.ini;:/irkll .JIMUIIJI1 for \uJ.
lkrlon, 18<jo. (l'artocul:m and illU>tration; of Buddhi<t d"initi<$.)
41>. Rao, 'f. A Goponatha, Ekwrls t>f lfi11rl11 le n 't""/'frJo \ol. i.
19 q. ( l'roi'OrtiOOS of htatuo, and a S;mskrit 1<>1,
rd.1ung 10 the !Wn<.)
rM 'IT!vt rl'itn a filii tlM t>/
f!.rta, &-.-. U.pzig and London, aS63. {Figures of Buddhist
dimitU...)
.jS. :;ruoth, \', A., A Ift'>t'") t>f Fin< Art buiia aNI llu tarlri11
li-s t/>J prrulft ti<J). Oxford, '9'' (Ch.ptcr on freoco and
other pointong in IndiA, Ceylon, Tibet, the AjonL\ csvo, the Indian
chooh of pointing. Ne.)
<19 - 'IN of Ajllfla unJ tlu Frrus t/Jcmn in Tlu furna/ t>/ bulr<llf
.lrl, ol. " PI' SS-7 (R<:produced from No. to.)
so. -- 'fit, l'ac.zta.ta Dynasty of Dour i11 tile Fowtlt anti hftll Ctnluri(s
I C. in the Journal t>/ tilt l?u)'lrl AJJ'atit So<it(l', 1914, pp. J t 7-38
s 1. Stem, .. \., Antunt K/wlan: dtlai!Ld reA>rl of nrrlrtto!ogiml t.ljJiont
trims ill Cllmuc 'lltrAtJ/ollr, vols. (one ronsioting of plutcs). Oxford,
1907.
51. Ruimtf /)istrl Cnlllay: j'<rtl)na/ narrothv t>/ o.plorulillfll 111 Cwtnd
./trio nnd llisttrnll,.sl Chilm, : vols. London, 1912. (Repn
ductions of freco .md other p.unting> di,conrt-d in Chine.o
Turk.,tnn.)
53 -- 1'111 Anri1nt llttdtlllisl .Pitlrutt and Em6roidffits liiSM<rttl 111
'lltnHuang in T/tr jt1urna/ of Indian Art, \'OI. w. pp. ticHi.
(Retlroduced frum No. u.)
'fM, lnln>IAted by Benoy KlllllAr Sarlalr (T/oc SamJ Hwlu of
tAt 1/in.lru, \'01. xiii). Alb.b.lb:td, 1914. {pp. 167-82 = c h.
14 ;-402, of 'Uilnes, &c.)
SS .\bonondranatb, $4hf!Col "'lilt six limh of /nJioJn in
Ostasiali r..W krtuluijt, 1914, p. ro:.
s<>. I\ addcll, 1... A., 77: OrlliJI:ism of T'IIKt. London, t89S (Pruteo.><:> on
Tobctan pointong. pp. 33o-1 : Buddhi>t figure., <)'lllbol>, :.c.,
..:hartte" ,i,-.l.Y.)
51 Wright, D . H11M7 of XtJal. C3mbridge, 1817- (Plates of Buddhbt
d"onitoc:s, &e.)
r. w. T.
Xon.-J'or further ,..orls rdaung to ,\pn14 w p. 15, nd pp. 28o-2 uf Xo. 13 in this Bibliography.
..

. --

..




. -









..
-








..

. - .


-




Ctotral Arcbaeologlcal Llbrar),
NEW DELHI
3'1/S
Call No 7S"I l3o cr'34/ HVL
Aut.hor- l-/041.'(1lo."""' _, L
ao,..,,.., Ho.l Dott o1 '-l Duo oi!Utu"
PJeue help .- to keep ~ buok
cleu ud a ~ m g