Indian Antiquary Vol 03

SR No.: 032495
Original Sutra Author: N/A
Author: Jas Burgess
Publisher: Swati Publications
Publication Year: 1984
Total Pages: 420
Language: English
Classification: Book_English
File Size: 19 MB

Page 37

JANUARY, 1874.]
THE AJANTÁ FRESCOES.
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painting on the right-hand wall of the antecham- and a trawing has been made of the ceiling, showber to the sanctuary, and measures 7 feet by 4. "In ing what remains of the colouring upon it, and the this piece there are eight figures and portions of positions of the panels copied. three others--all of which are seated or standing "Although a great portion of this ceiling is deupon large lotus flowers with nimbi round the heads. stroyed, yet enough remains to give us the general The action of some of the figures, especially the arrangement of the whole. At first sight it ap. standing ones, bears such a very striking resem. pears very complicated in design, but after a little blance to what is characteristic of the figures in study it will be seen how simply the whole thing Christian art that they might have been taken is arranged. Adhering to the idea of imitating from some mediaval church rather than from the their wooden originals, which idea pervades every caves of Ajanta. The delisate foliage which fills thing they did here, the Buddhists, in decorating in the spaces between the figures will give some this ceiling, merely adopted the principal divisions idea of the power of these old artists as designers,
formed by the several timbers in one of their and also of their knowledge of the growth of wooden floors: in fact the plan of this ceiling is plants."
nothing more than the plan of a wooden floor taken The fourth picture, measuring 4 feet 11 inches from below,-or, to put it plainer, if another floor by 4 feet 3 inches, is the only one not taken from
were added on to the present cave, the timbers Cave I. Mr. Griffiths' plan was to work out one
which enter into the construction of that floor, on cave thoroughly before proceeding to another; but looking up at them from below, would be reprehe deviated from it in this instance in order "to sented by the principal lines on this ceiling. secure some record, however imperfect, of this "The space is thus divided into a number of the best piece of painting now remaining at Ajanta. panels which are filled with ornament. This prin. For pathos and sentiment and the unmistakeable ciple of division is carried out in every painted way of telling its story," he says, "this picture, ceiling that is still remaining of the Vihara caves I consider, cannot be surpassed in the history of at Ajantâ with one exception only, and that is Cave art. The Florentine could have put better draw. XVI. where the principal arrangement consists of ing, and the Venetian better colour, but neither circles. Having thus divided the ceiling into a could have thrown greater expression into it. The number of panels, with a circle for variety in the dying woman, with drooping head, half-closed central division, we find these panels filled with eyes, and languid limbs, reclines on a bed the like ornament of such variety and beauty--where we of which may be found in any native house of the have naturalism and conventionalism so harmonipresent day. She is tenderly supported by a fe- ously combined ---as to call forth our highest ad. male attendant, whilst another with eager gaze is miration. For ddlicato colouring, variety of delooking into her face and holding the sick woman's sign, flow of line, and filling of space, I think they arm as if in the act of feeling her pulse. The expres- are unequalled. Although every panel has been sion on her face is one of deep anxiety, as she thought out, and not a touch in one carelessly given, goems to realize how soon life will be extinct in yet the whole work bears the impression of having one she loves. Another female behind is in at- been done with the greatest ease and freedom: not tendance with a panka, whilst two men on the left only freedom in execution, but also freedom of are looking on with the expression of profound thought." grief depicted in their faces. Below are seated on all the ornament in the smaller squares is the floor other relations, who appear to have given painted alternately on a black and red ground. up all hope, and to have begun their days of The ground-colour was first laid in, and then the mourning.---for one woman has buried her face in ornament was painted solidly over this in white : her hands and apparently is weeping bitterly." it was further developed by thin transparent co.
"Is it unreasonable to infer that the peacock- lours over the white. a Christian symbol of the Resurrection--seen ic In order fally to appreciate the copies of the connection with this death-scene may have the paintings, it is necessary to bear in mind that the same meaning attached to it here, especially as originals were designed and painted to occupy we meet with another symbol in the caves which certain fixed positions, and were seen in a subdued has entered largely into Christian art and which light. Many of the copies of the panels on close must have been borrowed from the East P-I refer inspection appear coarse and unfinished; but seen to the nimbus."
at their proper distance (never less than seven feet of the ceiling 131 panels about a foot square from the spectator) apparent coarseness assumes each, and 29 others varying from 18 inches square a delicate gradation." to 4 feet 10 inches by 2 feet, have been copied - 1 The moulds taken, Mr. Griffiths regrets, are not some of them filled with most intricate painting ; so good as they should be,-inasmuch as the two