-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
1/88
346
hapter Six
The themes of Buddhist mural paintings and the canonical texts
Identification of the themes of paintings:
At the beginning of last century, the trend as exemplified by Foucher was that in
order to better appreciate works ofart, it is necessary to understa.Iid them arid that the first
thing one has
to
do, after having duly admired their beauty, is to identify the subjects they
represent.
This notion clearly indicates that themes were considered one
of
the major
aspects
of
any artistic creation. Without doubt, this aspect is particularly applicable t the
Buddhist wall painting traditions of the ancient period of India and Sri Lanka as weli.
Nevertheless, in the context of his thesis it
is
evident that as in other areas, the themes of
Buddhist mural paintings of the two countries have also been separately discussed, but
none has focused attention on a comparative study
of
these themes
to
comprehend the
similarities and differences between the two traditions though they have satisfactorily
documented these themes. Hence the main objective of his chapter is to enquire into these
matters in detail.
It
has to be noted at this point that one
of
the drawbacks
t
the identification of
themes is that unfortunately many of the Buddhist wall paintings of the two countries,
which belong to the period concerned have peeled off or deteriorated, due to various
1
A Foucher, (tr. MSA Hydari), Preliminary report on the interpretation of he paintings and sculptures of
Ajanta, Journal of the Hyderabad Archaeological Society, 1919-20, pp. 50-111, Particularly p SO
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
2/88
347
reasons?For instance, the shrine of cave no 4 at Ajanta originally bore paintings, traces
ofwhich still linger in patches. Cave no 6 was also originally painted with many Buddha
figures,
of
which hardly anything can now be made out. It is evident that on the left wall
of he antechamber of he cave was painted the 'Miracle ofSravasti ' and on the right wall
the 'Assault' and 'Temptation
ofMara
etc. Unfortunately, many
ofthese
paintings have
peeled off. Similarly, cave no 7 was once painted all over, but nothing substantial has
survived. Cave nos. 12 and
15
were also
o_tiginal Y
painted as evident from the patches of
plaster sticking to the ceiling
of
the hall and traces
of
painting on the ceiling
of
the
antechamber and shrine. n addition, most of the_paintin__gs of cave nos. 20 and 21 have
also now disappeared although in cave no
21
a fragment
of
a panel representing Buddha
preaching before the congregation can be seen on the left wall between the porch and the
pilaster.1n cave no 26 also much
of
the painting, which had little scope for originality
due to lack ofplain uncovered surface, has perished.
According to the descriptions
_given
in the fourth chapter it is obvious that a
majority
of
the paintings
at
the sites
of
the two countries consisted
of
narrative cycles
containing numerous individual scenes
tho J_gh
mlY smalt _portions of the ()qginal
paintings are extant. Taken collectively, these cycles are not so difficult to identify
if
he
whole story is well preserved. Nevertheless when
~ J _ g e
sections of these stories have
been destroyed or perished, as already noted above, the identification of the themes is
2
For instance see BB Lal, Preservationofmural paintings, Ancient Indm, No.22, 1966, Archaeological
Swvey of India, (reprinted) 1973, pp.83-l00; JC Nagpall, Mural paintings in India, Gian Publishing House,
Delhi, 1988, pp.30-35; Mohamed Sana Ulla, Report on the treatment of he Sigiriya frescoes and
suggestions for the preservation ofpaintings in the various shrines and old monuments in Ceylon, Ceylon
Sessional Paper, No. XXI, September 1943, Government Press, Colombo, 1943, pp.3-6; L Maranzi, Ceylon:
Preservation ofmural paintings, Feb-May 1972, UNESCO Serial no 2721, Paris
uly
1972, pp.2-8.
3
Debala Mitra, Ajanta, Archaeological Survey of India, Eleventh edition, New Delhi, 1996, pp.72-73.
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
3/88
348
often extremely difficult.
4
Due to this fact some early scholars had wrongly concluded
that Ajanta
w s
rich in murals representing the incidents
of
the history ofBuddhism in
Sri Lanka and that the site depicted amongst others, the arrival
of
Mahinda, the elk
hunting ofDevanampiyatissa and incidents
of
the monarch's reign in Sri Lanka
5
while
another painting depicted the bringing of the tooth relic into the i s l a n d ~ addition,
problems
of
another kind are presented by the paintings, in particular those at Ajanta,
Dimbulagala and Tivamka shrine where narrative cycles are available. Here a complex
series
of
events in the narrative are reduced to only a few scenes in the picture.
Consequently, in interpreting them, the main difficulty is
in
determining the remaining
individual scenes based on parallels in literature and iconography. Under these
conditions .:he identification
of
he murals in the caves ofAjanta as well as in other sites
needs
to
be evaluated within the context
of
historiographic developments at least briefly.
n
the 1870s, Burgess provided a systematic description
of
all the paintings
surviving at Ajanta at the time
7
and it is evident that their state
of
preservation did not
differ significantly from that
of
oday. He succeeded at that time in identifying two scenes
as legends
of
he Buddha's former births. n the year 1895, Oldenburg also identified eight
or
nine Jatakas in the paintings, based solely on descriptions
of
Burgess mentioned
above. Afterwards, in the year 1902, Luders with the help
of
painted inscriptions
identified two scenes, including one already proposed by Oldenburg, with Jataka stories
4
See Dieter Schlinglo:ff, Studies in the Ajanta paintings: Identifications and intemretations,
ew
Delhi,
1987,p.59.
HCP Bell, Interim report on the operations
of
he archaeological smvey
t
Sigiriya in 1895, Journal of
the Royal Asiatic Society (Ceylon Branch), Vol.XIV, No.46, 1895, p.57.
6
HCP BelL Interim report
on
the operations
of
he archaeological smvey at Sigiriya, 1897 Journa l
of
he
Royal Asiatic Society (Ceylon Branch), Vol.XIV, No.48, 1897, p.123.
7
J Burgess, Notes on the Buddha rock templesofAjanta, Bombay, 1879, p 9 ~ 78.
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
4/88
349
as given in the Jatakamala of Aryasura. J.ater, in the years of 1919 and 1920, though
Foucher definitively identified around 2 paintings,
1
it is evident that about a dozen
Jataka stories had already been studied by former scholars such as Bhau Daji, Burgess,
Oldenburg and Liiders etc.
11
However, Foucher's interpretations succeeded in identifying
a much larger number, so that he could justifiably claim that the bulk
of
the work
of
interpreting the wall paintings was two-thirds finished.
12
Subsequently, there have been some other stray endeavours for fresh
identifications
of
the murals.
13
f
these, the latest and most significant is the work
of
Schlingloff
in
which the main aim is to identify and interpret the paintings ofAjanta.
1
4_sut
according to some other identifications, it is clear that the paintings ofAjanta continue to
be debatable. For instance, it had earlier been established that at Ajanta, except one or
8
SF Oldenburg,
(tr.
L Wiener), "Notes on Buddhist
art,"
Journal
of
he American Oriental Society, Vol.
XVIII 1897, pp.l83-201.
9
H L1lders "Aryasura's Jataka-mala and the frescoes
of
Ajanta," Indian
Antiquacy
Vol.XXXII, 1903,
pj.326-329.
A Foucher,
(tr.
MSA Hydari), "Preliminary report on the interpretation of the paintings and sculptures of
Ajanta," Journal
of
he Hyderabad Archaeological Society, 1919-20, See pp.S0-111.
11
Bhau
a j ~
"Ajanta inscriptions," Journal
of
he Bombay Branch
of
he Royal Asiatic Society for 1861-62
and 1862-63,
Vol.
VII, 1865, pp.53-74; J Burgess, "Rock temples
of
Ajanta," Indian Antiquazy. Vol. lli
1874 pp.269-274; SF Oldenburg,
(tr.
L Wiener), "Notes on Buddhist
art,"
Journal of he American Oriental
Society
Vol.XVIIl, 1897, pp.183-201; H L1lders "Aryasura' s Jataka-mala and the frescoes
of
Ajanta,"
Indian Antiqumy, Vol.XXXII, 1903, pp.326-329.
12
A Foucher,
(tr.
MSA Hydari), "Preliminary report on the interpretation
of
the paintings and sculptures of
Ajanta," Journal
of
he Hyderabad Archaeological Society for 1919-20, 1921, pp.S0-111.
13
For instance, G Yazdani, "Notes on frescoes discovered at Ajanta," Annual bibliography
of
Indian
archaeology for the year 1932,
Vol.
Vll,
Ley
don 1934, pp.31-32; MG Dikshit, Transactions
of
he Indian
History Congress, fifth session, Hyderabad, 1941, pp.567-568; "An unidentified Jataka scene from Ajanta,"
The Journal of he Bihar and Orissa Research Society, March-June 1943, Bihar and Orissa Research
Society, Patna,
Vol.
XXIX, ptl
&
ll,
pp.l15-119; DebalaMitra, Ajanta, Archaeological Survey
of
India,
Eleventh edition, New e l h ~ 1996; Dieter Schlingloff, "Kalyanakarin's adventure: The identification
of
an
Ajanta painting," ArtJbusAsiae, Vol.XXXVlll, pp.5-28; GK Bhat, "The Vidusaka's cap and
an
Ajanta
fresco," Felicitation volume: A collection offorty to indological essays presented to Dr. VV Mirashi, ed. GT
Deshpande and others, Vidarbha Samsothan Mandai, Nagpur, 1965, pp.336-343; Studies in the Ajanta
paintings: Identifications and intetpretations, New Delhi, 1987; WE Begley, "The identification
of
the
Ajanta fragment in the Boston Museum," Oriental
Art,
ed. Peter C Swann, Oriental Magazine ltd, (New
Series), Vol.XIV, No.I, 1968, pp.25-33; SK
Maity
"My pilgrimage to Ajanta," Journal ofhistmy, ed.
SK
Maity Jadavpur University, Vol.Ill, 1982, pp.l-28.
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
5/88
350
Ajanta, except one or perhaps two, the scenes depicted contemporary historical episodes,
the subjects throughout being exclusively Buddhist.
15
Under this impression, upto very
recent times, the court scene on the front wall to the right
of
he main doorway
of
cave no
1 at Ajanta had been a subject ofcontroversy. At the centre
of
this picture is seen a royal
personage seated at ease on a high backed throne and surrounded by his courtiers and
attendants. To the right are several 'foreigners' some outside the gate of the hall, some
entering it and the rest within
it.
They wear peaked caps and some of
th m
have beards.
The three nearer the throne are respectfully approaching the king with rich presents; the
one leading the party offers a pearl necklace, the second most probably holds a purse and
the third carries a tray
of
ewellery.
This scene had been interpreted as the Chalukya king Pulake8in (610-642 AD)
receiving an embassy from the Sassanian king Khusrau (596-628) of Persia by
e r g u s s o n
fact, before him, although Burgess had only cautiously suggested this idea
of interpreting the scene as an interesting memento
of
some embassy from Persia,
17
Fergusson and others took it up, located the alleged embassy historically and used it to
even date the painting.
18
For instance, among such contradictory interpretations, Yazdani
14
Dieter Schlingloff, Studies
in
the Ajanta paintings: Identifications and interpretations, New Delhi, 1987;
Guide to the Ajanta paintings: Narrative w ll a i n t i n g ~ Munshiram Manoharlal Publishers, New Delhi,
Vol.I, 1999.
5
Percy Brown, Indian painting,
YMCA
Publishing House, 1927, p.31; See
also
K Bharatha Iyer, Indian
art:
A short introduction, Asia Publishing House, Bombay, 1958, p.67.
16
J Fergusson, On the identification of he portrait of Chrosroes II among the paintings
in
the caves
of
Ajanta, Journal
of
he
Royal
Asiatic Society
of
Great Britain
and
I r e l a n ~ (New Series), Vol. XI, 1879,
p.p-155-170.
J Burgess, Notes on the Buddha rock temples
of Ajant ,
Bombay, 1879, p.23.
18
Rajendralala Mitra, On representation offoreigners
in
the Ajanta frescoes, Journal
of
he Asiatic
Society
of
Bengal,
VoLXLVII,
pt
I,
1878, pp.62-72; On the
age of
he Ajanta caves, Journal of he Royal
Asiatic Society
of
Great Britain
and
I r e l a n ~ (New Series), Vol
XII,
1880, pp.126-138; J Fergusson, On the
identification of he portrait ofChosroes II
among
the paintings in the caves at Ajanta, Journal of he Royal
Asiatic Society
of
Great Britain
and
Ireland (New Series), VolXI,
187
9, pp.155-17 0; Notes on Babu
Rajendralala Mitra's paper
on
the
age of
the caves
at
Ajanta, Journal
of
he Royal Asiatic Society of Great
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
6/88
351
discusses in detail that these are Iranian themes. Based on the information given by the
historian Tabari, he argued that the fame of the king Pulakesin II of the Deccan spread
beyond the limits of
India and reached the areas
ofKhusrau
II (Khusrau Parviz), king
of
Persia who in the thirty-sixth year
of
his reign 625-626 AD, received an embassy from
Pulakesin II. He further concludes that the courtesy was subsequently reciprocated by a
return embassy
sent
from Persia, which was received with due honour at
the
Indian court.
Thus, according
to
Yazdani, the exact year of this return embassy is not given, but it must
have taken place two
or
three years after
the
Indian embassy visited the Persian court, so
that the event may be
assigned roughly
to
630AD and the painting
of
the scene on the
walls and ceiling ofcave no 1 date to a still later date.
19
This type of interpretation is further said to be supported by the visitors standing
before the king in the reception hall wearing garments that would appear to have
resembled contemporary Persian clothing. It is noteworthy that apart from this unique
episode, several other features are also seeri as suggesting an association with Persia and
the arts of that country
20
or even artistic inter-change.
21
These include so-called
representations ofservants ofIranian origin with Persian dress; the famous 'wine drinking
scene, ' in which all the participants wear Persian coats, Persian caps, high boots
or
socks
Britain and Ireland, (New Series), VoLXI, 1879, pp.139-151; C Fabri, Frescoes ofAjanta, MID:g Vo1.IX,
1955, pp.61-76; B Ghosh, Indian embassy to Khusru T ofPersia, Journal of he Bihar Research Institute,
Vol.XXX, 1944,pp.184-191; G .Yazdani, Ajanta: Monochrome reproductions oftheAjanta frescoes based
on photography, Oxford University Press, London, Vol.I, 1930, pp.48-51; Benjamin Rowland,
The art
and
architecture
of
India Buddhist Hindu Jain, Penguin Books ltd, USA, 1953, p.248.
19
G Yazdani Ajanta: Monochrome reproductions
of
the Ajanta frescoes based on photography, Swati
Publications, Delhi, Vol.I, (reprinted) 1983, pp.46,
49;
Vol.lll, 1983, pp.24-29; The wall paintings
of
Ajanta, Journal
of
he Bihar and Orissa Research Society, Vol.XXVII, 1941, p.28; Percy Brown, Indian
~ a i n t i n g YMCA Publishing House, 1927, p.35.
0
Ibid, p.35.
21
Mulk Raj Anand and
RP
Bharadwaj, Ajanta,
Marg
Publications, Bombay, 1971, p.55.
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
7/88
352
and tight Persian trousers.
2
1 he paintings thus executed on the canopy of the same cave
have also identified a representation
of
a Persian king, though there is nothing regal in his
appearance or actions nor is he accompanied by any
of
those regalia, which are generally
employed to distinguish royalty in the E a s t ~ addition, it is necessary to point out that
though all these four paintings executed on the canopy are intended
to
represent the same
persons, they can hardly be recognised by their likeness. t is equally impossible
to
identify the portrait of he king in these pictures from any
of
he sculptured representations
ofhim.
24
On the other hand, if it be correct, it would show that Khushru's Indian
correspondent was Pulakesin, but it w'ould not suffice to connect the court scene in the
Ajanta picture with that king
alone.Z
5
This view becomes practically untenable when we
compare the styles of architecture, sculpture and painting also of this cave with those of
others, which bear inscriptions. Besides all these facts as there is no record
of
a Persian
king having sent any embassy
to
the court
of
Pulakesin, the identification
of
the royal
portrait with the latter is ruled out. Thus, the identification was shown to be wrong long
ago, but it is so catching that it has been repeated even in some recent works.
26
22
CharlesFabri, Frescoes of Ajanta, Mm g, ed. Mulk Raj Anand, Vol.IX, No.I, 1955, p.64.
23
J Fergusson, On the identification
of
he portrait ofChosroes
T
among the paintings
in
the caves at
Ajanta, Journal
of
he Royal Asiatic Society of Great Britain and Ireland (New Series), VoLXI, p .161.
24
1bid, pp.163-164.
25
Rajendralala Mitra Rai Bahadur, On the age of the Ajanta caves, Journal of he Royal Asiatic
SocietY
of Great Britain
and r e l a n ~
(New Series), Vol.XII, 1880, p.130.
26
See
DN Shukla, Silpa sastra: Hindu achievements in aeronautics
and fme
arts, Shri Darshan lal
Vastuvanmaya Prakasha-sala, Lucnow, 1967, p.167; Vasudeva S Agravala, Gupta art A stoty
of
Indian art
in the Gupta period 300-600 AD), Prithivi Prakashan, V aranasi, 1977, p.95; Karl Khandalavala, The
development of style in Indian painting. Macmillan, Madras, 197 4, p.46; Krishna Chaitanya, A histoty of
Indian painting: The mural tradition, Abhinav Publications, New Delhi, 1976, p.27; Mulk
Raj
Anand and
RP Bharadwaj, Ajantll, Marg Publications, Bombay, 1971, p.55; Moti Chandra, Trade and trade routes
in
ancient India, Abhinav Publications, New Delhi, 1977, p.235; SK Maity, My pilgrimage to Ajanta,
Journal ofHistoxy, ed. SK Maity, Jadavpur University, Vol.lll, 1982, p.6.
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
8/88
353
In contrast, in view
of
the fact that all the wall paintings of Ajanta are for the
edification of the Buddhists, it is but natural to seek in these paintings, too, the
representation
of
some subject connected with Buddhism. Under this impression, unlike
other scholars, Debala Mitra wrongly suggested that this panel is faintly reminiscent
of
he
celebrated Buddhist emperor ASoka s reception of foreign embassies, which has not
received scholarly attention since she has not given any reason for the identification?
7
Accordingly, it is obvious that it is difficult to say to what incident the painting
actually refers
t o ~ u t
it is noteworthy that recently Schlingloff has rationally identified
this scene of he so-called Persian embassy as a depiction
of
a Buddhist story.
9
As
he
has
pointed out, in Buddhist literature, there is an
ancient legend in which the presentation
of
gifts to a king plays a dominant role. It is the tale
of
king Mahas.udharsana in the city of
Kusavati, later known as Kusinagara. Shortly before his death, the Buddha tells his
disciple Ananda this story in order to change his low opinion of the city in which the
Buddha wants to enter Nirvana.
3
°Certainly, this legend is well known in all the Buddhist
schools and is frequently handed down in a canonical context as a single story. It recounts
how the grateful residents presented the ideal king of the prosperous flourishing city of
Kusavati with a number
of
gifts. Though reluctant to accept them
at
first, he finally
decides to use the presents to construct a religious hall. According to Schlingloff,
if
we
7
Debala Mitra, Ajanta, Archaeological Survey of India, Eleventh edition, New Delhi, 1996, pp.25-26.
28
Devapriya V alisingbe, Buddhist shines in India, The Mahabodhi Society ofCeylon, Colombo, 1948,
f i Schlinglo:ff, Studies in the Ajanta paintings: Identifications and interPretations,
New
Delhi, 1987,
pp.59-60.
or
a description
of
similar representation offore igners in a sculptured relieffound at Amaravati
and the comparison with the scene
of
Ajanta Please refer t Moti Chandra, Costumes textiles cosmetics and
coiffure in ancient and medieval India, Moti Chandra felicitation volume, ed. SP Gupta, Oriental Publishers,
Delhi, 1973, pp.89-90.
30
This story occurs in the Pali Mahasudassanasuttanta ofDigbanikaya. Dighanikaya, ed. TW Rhys Davids
and
J
Carpenter, Pali Text Society, London, Vol. II, 1890, pp. l69-199; Dialogues
of
he Buddha translated
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
9/88
354
assume that the so-called 'Persian embassy' painting illustrates this event, we can easily
explain why the king's visitors are wearing 'Persian clothes.' The artist wanted to convey
not only the splendour and wealth
of
he citizens ofKusavati, but their foreign appearance
as well.
3
Unlike Ajanta, it is evident that the Buddhist mural paintings ofBagh caves were
in an unidentifiable condition even during the 19th century AD, due to their sad state
of
preservation. Hence no scholar has attempted to identify these paintings unlike those at
Ajanta. However, in one
of
the remaining scenes at cave no 4, popularly known as the
Rangamahal cave, the first episode beginning from the left shows a princess and her
companion, one weeping and the other consoling her. Some scholars have concluded that
in all likelihood this must be the scene of the foster mother Gotami trying to console
Yasodara when all efforts to bring back Siddhartha failed.
32
Meanwhile in the next scene,
two divine and two princely figures are shown seated in conversation; akra among them
clearly indicated by his peculiar crown. The third scene shows some monks and probably
some lay female devotees: the former performing the miracle
of
flying in the air, the latter
appear to
be
musicians playing musical instruments as may be seen from a portion
of
he
lute, that is preserved. t is evident that the fourth scene presents a mirthful dance.
33
from
he
Pali Dighanikaya. ed.
TW
Rhys Davids, Sacred Books
of
he Buddhists, London, 1899, Vol. II,
~ p D i l _ 9 h l i n I
ff
S d . th A . . Id tifi . d. . N Delh' 1987
eter c go , tu es m e 1anta pamtmgs: en tcahons an mtetpretahons, ew 1 ,
f:p.59-60.
2
Krishna Chaitanya, A histoty of Indian painting:
The
mural tradition, Abhinav Publications,
New
Delhi
1976, p.43; See also Debala Mitra, Buddhist monuments, Sahitya Samsad, Calcutta, 1971, pp.I00-102.
33
C Sivaramamurti, Indian painting, National Book Trust, New Delhi, 1970, pp.31-32; VA Smith, A hist01y
of fine arts in India and Ceylon,
DB
Taraporevala sons, Bombay , (reprinted) 1959, p.98; See alsoEB
Havell, ''Notes on the paintings,
The
Bagh caves in the Gwalior state, India Society London and
Department ofArchaeology, Gwalior, Delhi Printers, Delhi, 1927, p.66; Philip Rawson, Indian painting,
Pierre Tisue, Editenr, Paris, 1961, p. 51.
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
10/88
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
11/88
356
is fairly distinct; his head in particular is well preserved.
3
'1Ie is dressed in a white upper
garment with long sleeves; his undergarment, too, is white-coloured but relieved by little
blue adornments. e is seated cross-legged, his right hand raised in front of his chest and
the left resting in his lap. This is perhaps the personage whom lmpey describes as a figure
of Buddha seated under a plantain tree.
4
f so, the proposed identification cannot be
correct, as the figure in question does not show the characteristic marks
of
he Buddha.
41
n addition to these remains
of
cave no 4, it is to be noted that in cave no 3 also
at
Bagh, some beautiful painting remnants are preserved. Among these, there are two
paintings of graceful women on both sides of the doorway of the pujagriha though the
subject matter
of
these is u n c e r t i n ~ u s it is obvious that in consequence
of
the very
fragmentary state of the paintings in the caves
of
Bagh no scholar has succeeded in
properly identifying the particular story to which they refer. Although some scholars
believe that these paintings depict the life story
of
he Buddha, since the subject matter of
the paintings cannot be identified as parts
of
any definite Jataka story,
43
others have argued
that they do not appear to illustrate any subject taken from the life story of he Buddha but
in all probability relate to some Jataka or Avadana
44
Nevertheless, it is noteworthy that
some recent works have reasonably concluded that the subject matter of the paintings is
39
For the description
of
emaining scenes
of
cave
no
4
at
Bagh, please refer
to
Sudhakar Nath Mishra, Gupta
art and architecture AgamKala Prakashan, Delhi, 1992, pp.191-203.
40
E lmpey, Description
of
he caves ofBagh in Rath, Journal of he Bombay Branch
of
the Royal Asiatic
Society, Vol.V, 1857, pp.543-573.
41
J Ph
Vogel
Paintings, The Bagh caves
in
the Gwalior state, India Society London and Department of
Archaeology, Gwalior, Delhi Printers, Delhi, 1927, p.59.
42
Sudhakar
Nath
Mishra, Gupta art and architecture, A
gam
Kala Prakashan, Delhi, 1992, p.192.
43
MN
Deshpande, Cave paintings in India,
Wall
paintings
of
India: A historical perspective, ed. OP
Agrawal,
INT
ACH Conservation Centre, Lucknow, 1989, p.21.
44
J Ph Vogel Paintings, The Bagh caves
in
the Gwalior state, India Society London and Department of
Archaeology, Gwalior Delhi Printers, Delhi, 1927, p.46.
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
12/88
357
clearly a Jataka or Avadana yet to be identified
45
while some others have gone to the
extant to state that the subject matter of the paintings of Bagh does not appear to be
Buddhist
as
it seems to be related to contemporary life.
46
Thus, according to this short description, it is clear that some identifications of he
paintings of Ajanta as well as Bagh still continue to be debatable. But, unlike in India no
long series of paintings, which represent continuous narration, are available in Sri Lanka
except those extant at the Tivamka shrine ofPolonnaruva, although a u m ~ r ofsites are
known in the island.
Of
these various sites, the themes
of
the murals at Sigiriya and the
Tivamka image house have been identified by scholars like Bell from the beginning
of
he
last century.
47
This effort has subsequently been continued by later scholars like
Godakumbura who has
tried
to identify the themes painted at Tivamka shrine differently
from Bell's interpretations in the middle part
of
the last century while Paranavitana
discusses the themes of the other sites in his numerous publications although briefly.
48
But, in contrast, unlike the interpretations. of Indian paintings, there is no controversy
among various scholars
of
he subsequent periods. Hence, except the identification of he
5
C Sivaramamurti, Indian painting, National Book Trust, New Delhi, 1970, pp.31-32.
46
Moti Chandra, Studies in early Indian painting, Asian Publishing House, London, 1970, p.l7.
47
HCP
Bell, Archaeological SU Vey
of
Ceylon Annual Re.ports, 190 5, pp.16-17; Archaeological Survey
of
Ceylon: North
Central
Northern and Central Provinces Annual Re,port for 1907, Government Printer, 1911,
ff·7-19.
CE Godakumbura, Murals at Tivamka pilimage, Archaeological Department, Colombo, 1969; S
Paranavitana, Art and architecture
of
Ceylon: Polonnaruva period, Art Council
of
Ceylon, Times
of
India
Press, Bombay, 1954; Glimpses of Ceylon's past, Lake House Investments, Colombo, 1972,
p.l49;
Archaeological SU Vey ofCeylon Annual Re,ports, 1931; Archaeological summary, Ceylon Journal
of
Science Section G, Vol.II, 1928, pp.l59-160; The significance of he paintings of Sigiri, Artibus Asiae,
VoL XXIV, Nos. 3 & 4, 1961, p.387; The subject of he Sigiri paintings, IndiaAntiqua, A volume of
Oriental studies presented by his friends and pupils to Jean Philippe Vogel, Leiden, 1947, pp.264-269;
Sigiri: The abode of a god king, Journal
of
he Royal Asiatic Society (Ceylon Branch),
(New
Series),
Vol.l, 1950, pp.l29-162; The
art of
he ancient Sinhalese, Lake House Investments, Colombo, 1971,
pp.26-28; CW Nicholas and S Paranavitana, A concise history
of
Ceylon, Ceylon University Press,
Colombo, 1961, p.l83; WG Archer and S Paranavitana, Ceylon: Paintings from temple shrine and rock,
New York Graphic Society, UNESCO, Paris, 1957, p.7.
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
13/88
358
subject matter
of
Sigiriya, no attempt has been made in this analysis to discus the history
of identification
of
the themes
of
the paintings of Sri Lanka in detail and the relevant
information has been presented where it is applicable. In this context, it is to be noted that
since a number
of
themes have been utilized by the painters
of
both countries, for the
convenience of this comparative study the themes depicted in these murals have been
divided into the following subdivisions: Jataka or the former birth stories of he Buddha;
the Buddha
caritaya
or the life story of he Buddha; the concepts ofthousanll Buddhas or
the Buddha sahasa Bodhisattvas and divine beings; and other themes covering the sphere
ofBuddhist teachings like the wheel
oflife
or Bhavacakra and the decorative motifs etc.
The ataka stories:
Of the themes that have been used for the Buddhist mural paintings of the two
countries, it is evident that the representations
of
he Jataka stories
49
are prominent. These
have been predominantly used and painted on the spacious, whitish walls
of
the front
portions of the temples, close to the main entrance, where enough sunlight is available to
observe the paintings easily. It is to be noted at this point that these Jatakas, the births
of
the Bodhisattva are said to be five hundred and fifty although the Pali Jataka collection
contains only five hundred and forty seven Jatakas.
5
1n these former lives, the Buddha
was
an ascetic eighty-three times; a monarch fifty-eight; the Deva ofa tree forty-three; a
religious teacher twenty-six; a courtier twenty-four; a
Purohita Brahman
twenty-four; a
49
t
has
been given a detailed account of the Jataka stories and their chronology n the letter part of he
chapter.
5
See
E
Cowell, The Jataka or stories
of
the Buddha s former births, tr. EB Cowell,
Wli
Rouse and
others,
(first
published 1895) Motilal Banarsidass Publishers, Delhi, (reprinted) 1990, 6 vols.
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
14/88
359
prince twenty -four; a nobleman twenty-three; a learned man twenty-two; the Deva Sakra
twenty; an ape eighteen; a merchant thirteen; a man o wealth twelve; a deer ten; a lion
ten; a swan eight; a snipe six; an elephant six; a fowl five; a slave five; a golden eagle five;
a horse four; a bull four;
Mahabrahma
four; a peacock four; a serpent four; a potter three;
an outcast three; a guano three; twice each a fish, an e l ~ h n t d r i v e r ~ a jackal, a crow, a
woodpecker, a thief and a pig and,once each a dog, a curer o snake bites, a gambler, a
mason, a smith, a devil-dancer, a scholar, a silver smith, a carpenter, a water fowl; a fro_g
a hare, a cock, a kite, a jungle fowl and a kindura. Nevertheless, it
is
observable that this
list is also imperfect
51
However, it is implied that each Jataka story exemplifies the efforts that the
Bodhisattva made to develop one o the ten virtues or das lparamitas. Theseparamitas
are
considered virtues like Dana (liberality), Sila (moml precepts), Kshanti (forbeamnce),
Virya (energy), Prajna (knowledge), Satya (truthfulness) etc.
52
As
in
the case of_the
:tspimtion o the Jatakas,
it
is noticeable that the ancient artists like painters and carvers
llso selected the necessary themes carefulbr to display such virtues. For example, the
2haddanta Jataka to demonstrate the Bodhisattva's boundless generosity, the Vessantam
fataka to show his
c h a r i c y ~
the Vidhurapandita Jataka to dis_play his wisdom etc, h u s ~ it
Nill
be seen that the narrative elements, either painting or relief also play a dominant part
S the intention was to emphasise the importance
o
virtuous livin_g mther than the
loctrinal aspect o Buddhism.
5
3
1
P Thomas, Epics myths and legends o India: A comprehensive survey o the sacred lore o the Hindu and
luddhists, DB Taraporevala Sons Bombay, (n.d.), p.118.
1
MN Deshpande, Ajanta:
The
Kaleidoscopic enigma o art historians, The art
o
Ajanta: New
ers pectives
ed. Ratan
Parimoo and others, Books and Books,
New Delhi,
Vol.I, 1991, p.19.
1
MN Deshpande, The murals: Their theme and content, Ajanta murals: An album o eighty-five
::productions in colour, ed. A Ghosh, Archaeological Survey o India, 1967, p.35; Ajanta: The
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
15/88
360
At the same time, according to the main contour or framework o hese stories, it is
apparent that the Jatakas were meant for illustrating the effect o Karma on the repeated
births
o
man, ultimately leading to heaven or hell according to whether it was good or
bad.
54
As
a result, the Jataka stories o hese previous existences ofBuddha through which
the perfect Bodhisattva had passed provided the subject for an immense quantity o
Buddhist art Certainly, each o them offers a moral example o Buddhist behaviour and
illustrates the kind o complete self-abnegation for the good o others, ·which leads
ultimately to Buddhahood.
55
Thus it is evident that there is a strong reason for presenting
these Jatakas in the special form
o reliefs
5
6
or i l l ~ s t r t i o n on the walls o the temples
during the period concerned. It is indeed noticeable that no subject could achieve this
purpose better than stories from these previous lives
o
he great master, where the would
be Buddha, in his career as the Bodhisattvas, outshone others by his supreme intelligence,
the nobility
o
his character, his spirit and selfless service and sacrifice and his boundless
Kaleidoscopic enigma
o art
historians, Theart o Ajanta: New perspectives, ed. Ratan Parimoo and others,
Books and Books, New Delhi, Vol.I, 1991, p.19.
54
De
MA
Gokuldas, Jataka gleanings bearing
on
ancient Indian civilisation, (reprinted from the) Journal o
the Department o Letters, Calcutta University Press, Vol.:XXV 1934, p.1.
Philip Rawson, Indian painting, Pierre Tisue, Editenr, Paris, 1961, p. 26.
6
In
fact the Jataka legends that seem to have been most popular among the early Indian carvers are the
following; the Jatakas ofNigrodhamiga, Chaddanta,
Ahiguntika,
Kakkata, Cullabodhi, Culladbammapala,
Duta, Ghoshaka, Kavikumaravadana, Losaka, Mahapaduma, Mandata, Mora, Somanassa, Vessantara,
Mahaummagga, Mugapakka, Latukika, Alambusa, Andhabuta, Sasa Sibi, Kurungamiga, Sandlubeda,
Candakinnara, Asadisa, Dasarata, Mahakapi, Cammasataka, Migapotaka, Mahajanaka, Aramadusaka,
Kapota, Vidhurapandita
etc.
See Nandadeva Wijesekara, An introduction t the 550 Jataka stories,
Selected writings, Tisara Press, Dehivala, Vol.I, 1983, pp.128-137; Amita Ray,Life and art o early
Andhradesa, Agam Kala Prakashan, Delhi, 1983, p.130. f hese more than twenty-five odd Jatakas that
are
represented on the reliefs ofBharhut, two alone, namely the Vessantara
and
Vidhurapandita Jatakas, ftnd
representations on the early Andhra reliefs.
In
Sanchi, the number o Jatakas represented
in
reliefs is more
than a dozen o which at least ftve are represented on the reliefo Amaravati.
In
Gandhara however, the
most popular Jataka seems to have been Dipankara, which at least thr times have been repeated in the
Andhra reliefs. The Jataka stories represented at Nagmjunakonda include the Jatakas ofGhata, Sibi,
Mandata, Mahapaduma, Sasa Dasaratha, Champeyya, Vessantara, Dighiti Kosala and Hamsa seem
to
have
been most popular, since they have been repeated more than
once.
Ibid, pp.142 and 164.
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
16/88
361
compassion, no matter whether he was born as a human or a celestial being, a small
animal or a mighty elephant.
In contrast, of the various sites in the ancient Buddhist world where these Jataka
murals were painted, the caves ofAjanta unquestionably receive the most important place.
From the extant paintings alone it is evident that numerous Jataka tales are represented on
the walls of the site. Interestingly enough, some
of
them are repeated a number
of
imes in
the various caves as discussed below and many
of
them treat human form rather than the
animal incarnation
of
he Buddha.
57
In this context, it
is
to be noted that among the earliest
caves
of
Ajanta, in cave no 10, which probably belongs to the second century
BC
as
discussed in the third chapter in detail, though the murals are very badly deteriorated two
Jataka stories have been successfully identified.
58
0fthese
two initial stories, on the left,
behind pillars
11
to
15 of
the cave,
is
depicted the Sarna Jataka
59
and to the right
ofthis
is
7
Susan L Huntington, The art of ancient India Buddhist Hindu Jain, Weatherhill, New York, 1985, p.259.
58
Both these are again found represented
in
cave no 17 also, which belongs to the later period, probably
somewhere
in
the
fifth
centmy AD.
9
A Foucher, The beginnings ofBuddhist
art and
other essays
in
Indian
and
Central Asian
archaeology.
tr.
LA Thomas and FN Thomas), London, 1914, Indo ogical Book House Varanasi,
(reprinted) 1972, pp.l85-204; ''Preliminazy report on the interpretationof he paintings
and
sculptures
of
Ajanta, (tr. MSA Hydari),Journal of he Hyderabad Archaeological Society, 1919-20, Vol.V, 1921,
pp.50-111; DebalaMitra Ajanta, Archaeological Swvey of India, Eleventh edition, New Delhi, 1996,
pp.43-44; Buddhist monuments, Sahitya Samsad, Calcutta, 1971, pp.l75-176; G Yazdani, The wall
paintings
of
Ajanta, Journal
of
he Bihar
and
Orissa Research Society, Vol.XXVII, 1941, p.8; Ajanta:
Monochrome reproductions
of
he Ajanta frescoes based on photography, Swati Publications, Delhi,
Votm 1942, pp.24-27; Vol.IV, 1945, p.3; MN Deshpande, The murals: Their theme and content, Ajanta
murals:
An
album
of
eighty-five
rej>roductions
in colour,
ed.
A Ghosh, Archaeological Swvey of India,
1967, p.35; Ajanta: The Kaleidoscopic enigma ofart historians, The art ofAjanta: New perspectives, ed.
Ratan Parimoo
and
others, Books and Books, New Delhi, Vol.I, 1991, p.l8; SK Maity, My pilgrimage to
Ajanta, Journal ofHistory, ed.
SK
Maity, Jadavpur University,
Vol.
III, 1982, p.1 0. According to the
Jataka,
Bodhisattva was born in that life as Sarna, the sole support ofhis blind parents. One day, while he
was ftlling his pitcher
in
a river, a poisoned arrow
of
he king
ofV
aranasi
who
had been out hunting shot him
accidentally. Later, having heard about the helplessness
of
he parents of
Sarna,
the repentant king offered
his senrice to them. Ultimately the parents' grief moved a goddess whose solemn asseveration brought
Sarna back to life
and
restored the eyesight
of
the parents. EB Cowell, The Jataka or stories
of
he Buddha's
former births, tr. EB Cowell and
WliD
Rouse, Motilal Banarsidass Publishers, Delhi, (reprinted) 1990,
Vol.VI, Jataka No. 540, pp.38-52.
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
17/88
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
18/88
363
herd for help. Another delightful scene is the bath
of
a herd
of
elephants in a lotus lake,
where they are shown raising and curving their trunks in a variety
of
characteristic styles
as they revel in the comforting luxury
of
he water.
61
Besides these two stories, in the second stage, around fifth century AD, the Jataka
stories of Sibi,
62
Samkhapala,
63
Mahajanaka,
64
Mahaummagga
65
and Champeyya
66
have
61
Histo:ry
of he Deccan, ed. G Yazdani and others, Oxford University Press, Great Britain,
Voll
Part 8,
1952,p.50.
62
The Sibi Jataka where Bodhisattva was born as prince Sibi and in order to redeem a pigeon from a hawk
went
o
the extent of giving
an
equal weight ofhis own flesh to the hawk. Deb ala Mitra, Ajanta,
Archaeological Smvey
of
India, Eleventh edition; New Delhi, 1996, p.20; Ramesh Shankar Gupta and BD
Mahajan, Ajanta, Ellora and Aurangabad caves, DB Taraporevala and sons, Bombay, 1962, pp.55-62; G.
Yazdani, Ajanta: Monochrome reproductions of the Ajanta frescoes based on photography, Oxford
University Press, London, Vol.I.
63
George Michell. The Penguin guide to the monuments
of
India Buddhist Jain Hindu, Penguin Group,
England, Vol.I, 1989, pp.337-341. The stmy ofSamkhapala which has been depicted in cave no I nms thus;
Bodhisattva, born
as t h ~
prince ofMagadha, desired
to
be born in the nag a world at the sight of the
splendourof he naga king Sankhapala, who used to visit his ascetic father in the hermitage. Born in his next
birth
as
the naga king Sankhapala, he soon grew sick
of
his state
of
glory and by way
of
atonement for his
former desire, lay on an anthill offering his body to any body
who
might want it. One day, a party of sixteen
men wounded him and dragged
him
along
by
means
of
a rope nmning through his nostrils, but Sankhapala
offered no resistance. Alara a kind hearted householder, who was passing that way with five hundred
wagons, took pity upon the serpent and delivered him from persecution by paying coins and oxen to the
maltreats. Sankhapala took his benefactor to his aquatic palace
and
entertained
him
with great pleasures for
a year, after which Alara became an ascetic. EB Cowell, The Jataka or stories of he Buddha's former births,
tr. Robert Chalmers, Motilal Banarsidass Publishers, Delhi, (reprinted) 1990, Vol.V, Jataka No. 524,
ff.84-91. .
See MN Deshpande, The murals: Their theme and content, Ajanta murals:An album ofeighty-five
nmroductions
in
colour, ed. A Ghosh, Archaeological Smvey
of
India, 1967, p.35; Ramesh Shankar Gupta
and BD Mahajan, Ajanta, Ellora and Aurangabad caves, DB Taraporevala and sons, Bombay, 1962,
pp.55-62; Ajanta paintings twenty plates in colour, Lalit Kala-Academy, Calcutta, New Delhi, 1956,
pl.xv-xix;
G.
Yazdani, Ajanta: Monochrome nmroductions of he Ajanta frescoes based on photography,
Oxford University Press, London, Vol.I; Ashok K Bhattacharya, Time in Ajanta painting, The art
of
Ajanta: New perspectives,
ed.
Ratan Parimoo, Books and Books, New Delhi, Voll l, 1991, p.295; George
Michell. The Penguin
guide
to the monuments
of
India Buddhist Jain Hindu, Penguin Group, England,
Vol.I,
1989
pp.337
-341.
The
st ry
ofMahajanaka Jataka
is as
follows. The king ofMithila was killed by his
brother in a battle.
His
queen, who was with child, fled to Champa, where she secretly brought up her son.
When
the boy, named Mahajanaka, grew up, he sailed for Suvarnabhumi with his merchandise but was
shipwrecked
and
carried by a goddess to Mithila, where he married Sivali, the daughter
of
he usurper who
had recently died. In the course
of
time, he renounced the world. Sivali tried
to
dissuade him from his
purpose but
all
her efforts
failed.
EB Cowell, The Jataka or stories
of
the Buddha's former births, tr. EB
Cowell
and WliD
Rouse, Motilal Banarsidass Publishers, Delhi, (reprinted) 1990, Vol.
VI
Jataka No.539,
pp.l9-37.
6
This
is
a much-obliterated panel, in which found the Mahaummagga Jataka, where Amaradevi, wife
of
he
sagacious Mahosada, outwitted four wicked men pretending to be
wise.
Deb ala Mitra,
Aj
anta,
Archaeological Smvey
of
India, Eleventh edition, New Delhi, 1996, p.24;
G.
Yazdani, Ajanta:
Monochrome reproductions of he Ajanta frescoes based on photography, Oxford University Press, London,
Vol.I; See lso MG Dikshit, An unidentified Jataka scene from Ajanta, The Journal of he Bihar and
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
19/88
364
been painted in cave no 1 and in cave no 2 the Jataka stories of Hamsa,
67
Vidhurapandita,
68
Ruru
69
and Kshantivadi
70
were painted while there are few verses
Orissa Research Society, Vol.
JLXIX
part I
II
March-June 1943,
pp.ll5-119;
EB Cowell, The Jataka or
stories
of
the Buddha's former births, tr. EB Cowell
and WliD
Rouse, Motilal Banarsidass Publishers,
Dellii, (reprinted) 1990,
Vol
VI, Jataka No. 546, pp.156-246;
See
also Ibid, Vol.I, Jataka No.112, p.254;
George Michell, The Penguin guide to the monuments
of
India Buddhist Jain Hindu, Penguin Group,
England, Vol.I, 1989,pp.337-341.
66
The Champeyya Jataka is delineated on the back wall to the right of he richly bejewelled Bodhisattva of
cave no
1.
MN Deshpande, The murals: Their theme
and
content, Ajanta murals: An album
of
eighty-five
r ~ r o d u t i o n s in colour, ed. A Ghosh, Archaeological Survey
of
India, 1967, p.36;
G.
Y
aztlani
Ajanta:
Monochrome reproductionsof he Ajanta frescoes based on photography, Oxford University Press, London,
Voll; George Michell, The Penguin guide to the monuments oflndia Buddhist Jain Hindu, Penguin Group,
England, Vol l, 1989, pp.337-341. According
to
the
sto:ry
in fulfilment ofhis desire Bodhisattva was born
as the naga king Champeyya feeling disgusted, however, with his reptile existence, he went to the world of
men to observe penance and stationed himself on an ant-hill. He allowed himself to be caught by a snake
charmer that made
him
dance. One day when he was dancing in the presence of he king
ofV
aranasi, the
latter set him free at the request of the nagi Sumana, Champeyya's wife. Out of gratitude Champeyya
conducted the king to
the abode of the serpents and lavishly entertained him for seven days; then he sent him
back loaded with treasures. EB Cowell, The Jataka or stories
of
he Buddha's former births, tr.
WliD
Rouse,
Motilal Banarsidass Publishers, Dellii, (reprinted) 1990, VoLIV, Jataka No.506, pp.281-290.
6
Ramesh Shankar Gupta and BD Mahajan, Ajanta. Ellora and Aurangabad
ca\res
DB Taraporevala
and
sons, Bombay, 1962, pp.62-71; George Michell, The Penguin guide to the monuments
of
India Buddhist
Jain Hindu, Penguin Group, England, Voll, 1989, pp.33 7-341.
On
the extreme left wall
of
the hall
of
cave
no 2 is depicted this Hamsa J ataka and the summary
of
the
sto:ry
runs as follows. Queen Khema having seen
in her dream a golden goose discoursing the law to her, the king
ofV
aranasi made a decoy-lake
and
his
fowler succeeded in capturing the golden goose-king
and
his faithful captain Sumukha Both
of
hem were
brought to the presence
of
he
roya.t
couple who were satisfied with the discourse and
s t
them free. EB
Cowell, The Jataka or stories
of
the Buddha's former births, tr.
WliD
Rouse, Motilal Banarsidass
Publishers, Delhi, (reprinted) 1990, VoLIV, Jataka No.502, pp.264-267.
68
MN Deshpande, The murals: Their theme and content, Ajanta murals: An album
of
eighty-five
rg>roductions in colour,
ed.
A Ghosh, Archaeologica.t Survey
of
India, 1967, p.36; See a tso Ratan Parimoo,
Vidhurapandita Jataka from Bharhut to Ajanta: A study
of
narrative, semiologica.t and stylistic aspects,
The art ofAjanta: New pet]pectives, ed. Ratan Parimoo, Books and Books, New Delhi, Vol T 1991,
pp.315-321; Ramesh Shankar Gupta and BD Mahajan, Ajanta. Ellora and Aurangabad caves, DB
Taraporevala and sons, Bombay, I 2, pp.62-71; George Michell, The Penguin guide to the monuments
of
India Buddhist Jain Hindu, Penguin Group, England, Vol.I, 1989, pp.337-341. The Vidhurapandita Jataka
occupies a large portion
of
he right wall
of
he hall
of
cave no 2. In order to
gain n
marriage the hand
of
he
naga princess Irandati, Purnaka, theYaksha general, won Vidhurapandita the wise
minist r of
he king
of
lndraprastha,
after
defeating the latter in a game
of
dice and brought him to the naga queen
Vima.ta
the
mother ofirandati, who was pining for the discourse ofVidhurapandita. EB Cowell, The Jataka or stories of
the Buddha's former births, tr. EB Cowell
and WliD
Rouse, Motilal Banarsidass Publishers, Dellii,
(reprinted) 1990,
Vol
VI, Jataka No.545, pp.126-156.
69
Deb ala Mitra, Ajanta, Archaeological Survey
of
India, Eleventh edition, New Delhi, 1996, pp.32-33. To
the left of the Vidhurapandita Jataka of cave no 2 between the cell door and the pilaster, painted the Rum
Jataka According to the
sto:ry
Bodhisattva, born as a golden deer, having rescued a drowning man was
betrayed by the
latter to the king
of
Varanasi, who had declared a rich reward to the fmder
of
such a deer,
as
his queen had taken into her head to listen to the sermon of a golden deer seen in her dreams. Bodhisattva
forgave his betrayer and converted the royal couple. See EB Cowell, The Jataka or stories of the Buddha's
former births,
tr.
WliD
Rouse, Motilal Banarsidass Publishers, Delhi, (reprinted) 1990, VollV, Jataka No.
482, pp.l61-166. Unfortunately most
of
the panel has now been perished
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
20/88
365
written on the walls of the porch to the left of the veranda of cave no 2 which include
quotes from the Kshanti Jataka, found in the Jatakamala.
7
In
addition, on the right side
wall of
the
same chamber, near the front corner of the cave, there is a figure of a king
seated on a throne, which bears an inscription that early scholars uncertainly read as
Chaitrivalorki raja and explained as king Chaitra of Valorka.
72
The correct reading,
however,
is
without doubt Maitribala raja and therefore obvious that the scene represents
the Bodhisattva in his former birth as the kin_g Maitribala _given in the Maitribala
Jataka.
73
1t
is
to
be
noted .at this. point that as
in
the
case.
of
the Kshantivadi Jataka
mentioned above, this story also forms the subject of a story of he Jatakamala.
7
4Jt is thus
evident that in the second phase, Aryasura's Jatakamala was one of the canons that was
used for the selection of the themes of thepaintin_gs of a n t a which will be discussed
later in detail.
Of he Jatakas painted in cave no 16, two can be recognised on the front wall
ofthe
hall near the left comer and the left wall of
the
front aisle. The first d ~ i c t s the Hasti
70
The Kshantivadi J ataka story was pictorially represented on the wall of a small chamber outside and to the
left ofcave no 2. The panel, which has now almost entirely perished, was painted with the Bodhisattva, who
did not get up hispatience and preachingof forbearance in spite of he persecutions of the king ofVaranasi.
Debala Mitra, Ajanta, Archaeological Survey of India, Eleventh edition, New Delhi, 1996, pp.28-29; EB
Cowell, The Jataka or stories of he Buddha's former births, tr. HT Francis and RA Neil, Motilal
Banarsidass Publishers, Delhi, (reprinted) 1990, Vol.III, Jataka No. 313, pp.26-29.
71
TheJatakamala by A.J:yasura ed.l liKern, Lanman's Harvard Oriental Series, Boston, 189l,pp.181-192;
Heinrich Ltiders, Aryasura's Jatakamala and the frescoes ofAjanta, The Indian Antiquary, ed. Richard
Camac Temple, Vol.XXXII, 1903, pp.326-329; See also Vidya Dehejia, Discourse in early Buddhist
art:
Visual narratives of India, Munshiram Manoharlal Publishers, New Delhi, 1997, p.58.
72
Heinrich LUders Aryasura's Jatakamala
and
the frescoes ofAjanta, The Indian Antiquazy, ed. Richard
Camac Temple, Vol.XXXII, 1903, pp.326-329; See
also
John Allan, A note on the inscriptions ofcave
IL
ed. G. Yazdani, Ajanta: Monochrome reproductions
of
the Ajanta frescoes based
on
photography, Oxford
University Press, London, Swati Publications, Delhi, Vol.II, (reprinted) 1983, pp.57, 62-63.
73
Heinrich Ltlders, Aryasura's Jatakamala and the frescoes ofAjanta, The Indian Antiquazy, ed. Richard
Camac Temple, Vol.XXXII, 1903, pp.326-329; John Allan, A note on the inscriptions of cave II, ed. G.
Yazdani, Ajanta: Monochrome reproductions of he Ajanta frescoes based on photography, Oxford
University Press, London, Swati Publications, Delhi, Vol.II, (reprinted) 1983, pp.57, 62-63. Maitribala is
there held up
as
a pattern of human kindness who asked him for food.
74
The Jatakamala by Atyasura, ed. lli Kern, Lanman's Harvard Oriental Series, Boston, 1891, pp.41-50.
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
21/88
366
Jataka
75
and the second shows certain episodes from theMahaummagga J.ataka.
76
In the
same cave fragmentary paintings of he Mahasutasoma Jataka, also represented in cave no
17
in
detail,
77
can be seen on the architrave above the front pillars of the Veranda.
78
Besides, it is apparent that the walls of he hall ofcave no 17 are also all embellished with
various Jatakas as in the case of cave no 16. Starting from the front wall to the left of the
main entrance is encountered the Chaddanta Jataka
79
(Plate XXIV), an earlier version of
which we have already met with the initial paintings
of
cave no 10. Meanwhile, it is
significant that the Mahakapi Jataka was twice painted and the first
80
is
highlighted over
the window and the space between the window and small door ofcave no 17.
81
Beyond the
75
George Michell, The Penguin guide to the monuments
of
India Buddhist Jain Hindu, Penguin Group,
England, Vol.L 1989, pp.337 -341; The Jatakamala by Atyasura, ed. l l Kern, HatVard Oriental Series,
Boston, 1891, p.200. In Hasti Jataka where the Bodhisattva hom as a benevolent elephant, flung himself
down to death from the top
of
a precipice to serve as food to hungry travellers, who are seen in the left panel
making a feast on the elephant s carcass.
76
Deb
ala Mitra, Ajanta, Archaeological Swvey
of
India, Eleventh edition, New Delhi, 1996, pp.53-54;
George Michell, The Penguin guide to the monuments of India Buddhist Jain Hindu, Penguin Group,
England,
Vol.L
1989, pp.337
-341. In
this
stoty where the supernatural child Mahosada adjudicated disputes.
n the top is the tank ofMahosada, who is talking to a group
of
four persons. Below this, a little to the left,
is the representation
of
he riddle
of
he son where Mahosada was called upon to settle the dispute between
a woman and a goblin over the motherhood of a child. Mahosada asked both of them to drag the child
towards herself: the mother seeing the child in pain desisted from her effort
and
this enabled Mahosada
to
find out the
real
mother. A popular version of his story, in which the judge ordered the boy to be cut into
two, so that the disputants could have
equal
parts, is apparently depicted here. Lower down, towards the
right, is the riddle of he chariot, where two persons claimed a chariot and Mahosada declared the rightful
owner by a simple test. See EB Cowell, The Jataka or stories of he Buddha s former births, tr. EB Cowell
and
WHD Rouse, MotilalBanarsidassPublishers, Delhi, (reprinted) 1990,
Vol.
VI, Jataka No. 546, pp.
156-246.
77
George Michell, The Penguin guide to the monuments
of
India Buddhist Jain Hindu, Penguin Group,
England, Vol.I, 1989, pp.337-341.
8
Debala Mitra, Ajanta, Archaeological Swvey
of
India, Eleventh edition, New Delhi, 1996, p.54.
79
George Michell. The Penguin guide to the monuments of India Buddhist Jain Hindu, Pen_guin Grou_p
England, YoU, 1989, pp.337 -341; Deb ala Mitra, Ajanta, Archaeological Swvey of India, Eleventh edition,
New Delhi, 1996, p.58.
80
There are
two
Jataka stories ofMahakapi in the Pali Jataka collection, which have been used for the
paintings ofAjanta. See
the
Jataka
nos.
407
and
518 ofEB Cowell s version ofThe Jataka or stories of the
Buddha s former births, Motilal Banarsidass Publishers, Delhi, (reprinted) 1990.
81
According to this Jataka story Bodhisattva hom as the kin_g o f m o n k ~ s lived with his retinue on the bank
of the Ganga
and
ate the fruits of a mango
tree,
to get the delicious fruits ofwhich king Brahmadatta of
V aranasi besieged it. Finding his troops in imminent dan_ger of death, Bodhisattva made a bridge partly by
means of a bamboo shoot
and
partly by stretching
his
own body for the safe escape
ofhis
followers. is rival
Devadatta,
also
born
as
a monkey, finding it an
~ p o r t u n i Y
to crush him,jumped on his body with such
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
22/88
367
side door
ofthe
cave, the Hasti Jataka is Iepresented, which occurs in cave no 16 too.
82
The Hamsa Jataka is also painted in cave no
17,
83
in addition to the Vessantara Jataka,
which covers the entire left wall between the two pilasters of the cave.
84
The adjoining
story to the right
of
Vessantara Jataka is the Kumbha Jataka
85
and
the
lower half
of
the
wall between the back pilaster and cell-door of he cave contains the representation of he
spring that is broke
his
heart. Brahmadatta, touched by the spirit
of
self-sacrifice, gently brought him down.
Before
his
death, Bodhisattva gave the king
an
instructive discourse. EB Cowell, The J ataka or stories of the
Buddha's former births,
tr.
HT Francis and RA Neil, Motilal Banarsidass Publishers, Delhi, (reprinted)
1990, Vo1.m, Jataka No. 407, pp. 225-227.
8
Debala Mitra, Ajanta, Archaeological Swvey of India, Eleventh edition, New Delhi, 1996, p.59.
83
MN Deshpande, The murals: Their theme and content, Ajanta murals: An album of eighty-five
r ,Productions in colour, ed. A Ghosh, Archaeological Swvey of India, 1967, p.36; Deb ala Mitra, Ajanta,
·Archaeological Sutvey
of
India, Eleventh edition, New Delhi, 1996, p.60. In the Hamsa Jataka the essential
characteristic of the swan, its wisdom is specially emphasised and the narration of he story has for its main
theme the capacity of he golden swan to expound dharma or ethical principles to queen of he land who
having dreamt listening to the bird, desired that it should be caught and brought for purpose. The story is
vividly represented in a painting of arresting in Ajanta. C Sivaramamurthi, Approach to nature in Indian art
and thought, Kanak Publications, New Delhi, 1980, p.95.
84
Ramesh Shankar Gupta and BD Mahajan, Ajanta. Ellora and Aurangabad caves, DB Taraporevala
and
sons, Bombay, 1962, p.88; MN Deshpande, The murals: Their theme and content, Ajanta murals: An
album of eighty-five reproductions in colour, ed. A Ghosh, Archaeological Swvey of India, 1967, p.36;
George Michell, The Penguin guide to the monuments of India Buddhist Jain Hindu, Penguin Group,
England, Vol.L 1989, pp.337 -341. The story ofVessantara Jataka has been depicted in art form at the sites
ofBharhut (Second century BC), Sanchi (first century BC), Amaravathi (first
to third
centuries AD), Goli
(third century AD) and Gandharan reliefs in addition to the paintings of Ajanta. See Margaret Cone and
Richard F Gombrich, The perfect generosity of prince Vessantara, Clarendon Press Oxford University
Press, 1977, Introduction, p.xxxv; Ajanta paintings twenty plates in colour, Lalit Kala Academy, Calcutta,
New Delhi, 1956. In this Jataka story, Bodhisattva born as prince Vessantara was
an
incarnation
of
generosity and charity. His farther, king Sanjaya, was forced by his subjects to banish him to Mount V amka,
as he had given away a supernatural elephant, gifted with the power of causing
rain to
the Brahmanas of
Kalinga, which was suffering from drought. Vessantara left the capital with
his
wife, son and daughter in a
chariot. On
his
way, he gave away first
his
horses and next
his
chariot to supplicants and arrived on foot
at
the hill, where he lived with his family in a hermitage provided by god Sakra. The prince next made a
gift ofhis children to a Brahmin called Jujaka and even gave away his wife Maddi to Sakra disguised as a
Brahmin. Sakra however, gave her back and through his grace Vessantara was reunited with his farther and
children. EB Cowell, The Jataka or stories
of
the Buddha's former births, tr. EB Cowell and Wli Rouse,
Motilal Banarsidass Publishers, Delhi, (reprinted) 1990, VolVI, Jataka No. 547, pp.246-395.
85
Dieter Schlingloff, Studies in the Ajanta paintings: Identifications and intetpretations, New Delhi, 1987,
p.l48.
This
Jataka story descnbes how a forester accidentally discovered strong drink and how this led to the
ruin of
all
India, until Sakka appeared on earth and by his exposition of he evils of drink induced a certain
king to abstain from its use. EB Cowell, The Jataka or stories of the Buddha's former births, tr. HT Francis_,
Motilal Banarsidass Publishers, Delhi, (reprinted) 1990, VolV, Jataka No. 512. pp 5-11; The J atakamala by
Aiyasura,
ed lli
Kern, Lanman'sHarvard Oriental Series,
o s t o n ~
1891, Jataka No.l7,_pp.l4l-145.
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
23/88
368
second Mahakapi Jataka.
8
Besides, it is believed that the battle scene painted above the
Mahakapi Jataka may be related to the Mahasutasoma Jataka, the subject matter
ofthe
back wall to the left of the antechamber
of
cave no 17,
87
though some have wrongly
suggested that this is an episode quoted from the Sakra Jataka.
88
n addition, on the back wall to the right of he antechamber also ofcave no 17 can
be recognised a few other Jataka stories. The one occup_yin_g the ~ o r p o r t i o ~
of
he upp r
half of the wall is the Sarabhamiga Jataka
89
To
the
right of the Sarabhamiga Jataka is
8
George Michell, The Penguin guide to the monuments of India Buddhist
Jain
Hindu, Penguin Group,
.. England, Vol.I, 1989, pp.337 -341; Ramesh Shankar Gupta
and
BD MBJ tajan, Ajanta, Ellora and
Aurangabad caves, DB Taraporevala and sons, Bombay, 1962, pp.88-100; Debala Mitra, Ajan ,
Archaeological SUIVey
of
India, Eleventh edition, New Delhi, 1996, p.61. In the Mahakapi Jataka where
Bodhisattva, born as a monkey, hauled a husbandman out ofa deep abyss into which the letter had fallen
while roaming in a furest
in
search ofhis oxen. The ungrateful man made
an
attempt
on
the life
of
his
saviour, while asleep, by flinging a stone at him. Despite this ungrateful act, Bodhisattva showed him the
way out. EB Cowell, The Jataka or stories
of
he Buddha s former births, tr. HT Francis, Motilal
Banarsidass Publishers, Delhi, (reprinted) 1990, Vol.V, Jataka No. 518, pp.37-41.
87
Dieter Schlingloff, Studies
in
the Ajanta paintings: Identifications and intetpretations, New Delhi, 1987,
p l01; Ramesh Shankar Gupta and BD Mahajan, Ajanta, Ellora and Aurangabad caves, DB T araporevala
and sons, Bombay, 1962, pp.90-1 00; George Michell, The Penguin guide to the monuments of India
Buddhist Jain Hindu, Penguin Group, England, VoLI, 1989, pp.337-341.
In
this Jataka, the Bodhisattva was
the son
of
a king in Hastinapura named Sutasoma.
One
day while out riding with
his
retinue, he met a
Brahman
to
whom he promised see
in return
for the
itp part:iJJ _g of
wards
of
wisdom. Before he could make
good his promise, however, a man-eating monster, the former king ofBenares, captured him. As the
man-eater was carrying him off to be lair in order to slau_ghter i m ~ Sutasoma wept because his imminent
death would cause
him
to break
his
word to the Brahman. On seeing this, the man-eater allowed Sutasoma to
go
free,
but only after he had
_given
his word
of
honour to return o n c e ~ the Brahman had been paid. After
fulfilling his promise, Sutasoma did indeed voluntarily return to the lair
of
he man
eater,
who was so deeply
impressed by
.the
Bodbisattva s sense
of
honour even
thou_gh
certain
death was
awaitin_g
him that he
refrained from killing him. He listened to, be influenced by the Bodhisattva s preaching, and after his
conversion, swore to renounce the eatin_g
of
human flesli. EB Cowell, The Jataka or stories
of
he Buddha s
former births, tr. HT Francis, Motilal Banarsidass Publishers, Delhi, 1990, (reprinted) Vol. V, Jataka
No.537, pp. 246-279.
88
Vidya Dehejia, Discourse in early Buddhist art: Visual narratives
of
India, Munshiram Manoharlal
Publishers, New Delhi, 1997, pp.222-223. However_, it is certain that there is no
any stocy
by the name of
Sakka Jataka in the Pali Jataka collection.
89
Debala Mitra, Ajan . Archaeological Survey of India, Eleventh edition, New Delhi, 1996, p.63. In the
Sarabha-miga Jataka where Bodhisattva, born as a stag, rescued the king ofVaranasi,
who
had fallen into a
deep pit while pursuing the former. The hunting party appears in the middle portion, while
on
the right is
seen the stag, first practising with a stone to enable him to cany
the
weight of he king and next canying the
king himself
on
his back. EB Cowell, The Jataka or stories of the Buddha s former births, tr. WIID Rouse,
Motilal Banarsidass Publishers, Delhi, (reprinted) 1990, Vol.IV, Jataka
No.
483, pp.l66-167.
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
24/88
369
represented the Machcha Jataka
9
and below the Sarabhamiga Jataka, between the two
cell-doors, is the representation of he Matiposaka Jataka.
91
Thenext Jataka story, beyond
the cell door of cave
no
17 is the Sarna
J
a aka
92
Besides, the Mahisa ataka is also painted
on the right wall to the left of he cell door
of
he cave
93
while the next Jataka story is that
of Sibi.
9
1n addition, the Sasa Jataka
is
also painted on the wall of the back aisle of the
cave.
95
The subjectofthe next painting covering the front wall to the left
of
he window
of
the cave has been identified as the Ruru Jataka, though there is an absence or he essential
details
of
the story.
t
is apparent that the rest
of
the wall upto the door
of
the cave
90
Debala Mitra, Ajanta, Archaeological Survey
of
India, Eleventh edition, New Delhi, 1996, p.63. The
Machcha Jataka where Bodhisattva, in
his
fish-incarnation, made the king
of
gods cause rainfall by a solemn
profession
of
goodness
in
order
to
save his kinsfolk, being devoured by birds during a drought. EB Cowell,
The Jataka or stories of the Buddha's former births, tr. Robert Chalmers, Motilal Banarsidass Publishers,
Delhi, (reprinted) 1990, Voll Jataka No.75, pp.l83-185.
91
George Michell, The Penguin
guide
to the monuments
of
India Buddhist Jain Hindu, Penguin Group,
England, Vol.I, 1989, pp.337-341. In this Jataka story, Bodhisattva, born
as
an elephant once carried a
strayed forester on
his
back out of
he
forest. The state elephant having died, the king
of
Varanasi caught
Bodhisattva following the clue given by the forester. In the palace the animal nourishment thinking
of
he
helplessness ofhis blind mother,
to
whom he as greatly attached. Moved
to
pity the king released him. EB
Cowell. The Jataka or stories of the Buddha's former births, tr. WHD Rouse, Motilal Banarsidass
Publishers, Delhi, (reprinted) 1990, VoliV, Jataka No. 455, pp. 58-61.
92
George Michell. The Penguin guide to the monuments of India Buddhist Jain Hindu, Penguin Group,
England, Voll, 1989, pp.337-341; Deb ala Mitra, Ajanta, Archaeological Survey of India, Eleventh edition,
New Delhi, 1996, p.64.
93
John Griffiths, The paintings in the Buddhist cave temples ofAjanta Khandesh, Caxton Publications,
Delhi, 1983, p.l3; Ramesh Shankar Gupta and BD Mahajan, Ajanta, Ellora and Aurangabad caves, DB
T araporevala and sons, Bombay, 1962, pp.90-l 00; Deb ala Mitra, Ajanta, Archaeological Survey ofIndia,
Eleventh edition, New Delhi, 19%, p.64. In this story, Bodhisattva in
his
birth
as
a buffalo
use
to rest under
a tree and suffered a monkey to torture him with impunity. Once another buffalo happened to stand under
the same tree. The monkey started his unusual cruel pranks but was thrown away
and
trampled to death. On
the bottom the monkey
is
seen putting
his
hand on the eyes ofBodhisattva; above, the monkey now thrown
down, is looking with awe at the fierce buffalo. See EB Cowell, The Jataka or storiesof he Buddha's former
births,
tr. WHD
Rouse, Motilal Banarsidass Publishers, Delhi, (reprinted) 1990, Volll, pp.262-263.
94
MN Deshpande, The murals: Their theme ~ content, Ajanta murals:An album of eighty-five
reproductions in colour,
ed.
A Ghosh, Archaeological Survey of India, 1967, p.37; Deb ala Mitra, Ajanta,
Archaeological Sutvey
of
India, Eleventh edition, New Delhi, 1996, p.66. In
the
Sibi Jataka where king Sibi
made a
gift of
his eyes to the Sakra, disguised
as
a blind Brahman. The word 'Sibi raja' is written
at three
places below the royal figure. See
EB
Cowell, The Jataka or stories
of
he Buddha's former births,
tr.
WHD
Rouse, Motilal Banarsidass Publishers, Delhi, (reprinted) 1990, Vol.N, Jataka No.499.
9
Dieter Schlingloff, Studies in the Ajanta paintings: Identifications
and intet:pretations
New Delhi, 1987,
£,P.l23-128.
George Michell, The Penguin guide
to
the monuments of India Buddhist Jain Hindu, Penguin Group,
England,
Voll
1989, pp.337 -341; Debala Mitra, Ajanta, Archaeological Survey of India, Eleventh edition,
New Delhi, 1996, p.67.
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
25/88
370
contains the Nigrodhamiga Jataka.
97
However, of hese Jataka tales the scenes of the Sasa
and the Kumbha Jatakas suggest that the literary source of he artists is the Jatakamal , as
in the case of the some of he murals in the cave no 2.
98
n contrast, from the extant paintings alone it is obvious that the following Jatakas
have been represented at the caves
ofi\janta
Sibi, Sankapala, Kshantivadi, Maitribala,
Mahakapi, Sarna, Chaddanta, V essantara, Mahasutasoma, Matsya, Hasti, Mahajanaka,
Champeyya, Mahaummagga, Hamsa, Vidurapandita, Sarabhamiga, Ruru,'Matiposaka,
Kumbha, Sasa, Mahisha and Nigrodgamiga etc.
Of
hese various stories, in cave nos 1 and
16, the Mahaummagga Jataka story was painted twice, while the Sibi Jataka has been
painted in cave nos. 1 and 17. Similarly, in cave nos. 2 and 17 also the Ruru and Hamsa
Jataka stories were painted twice, while the Jataka stories
of
Mahasutasoma and Hasti
have been painted in cave nos. 16 and 17.
n
addition, the Jataka stories ofChaddanta and
Sarna have been painted in cave nos. 10 and 17 though the chronological g ~ p
of
the
paintings is considerably wide. Although it is thus evident that some of the Jataka stories
have repeatedly been painted in the caves ofAjanta, as in the case of he Buddhist reliefs
it is needless to state that the sequence
of
events or the scenes
of
narration
of
hese same
97
Ramesh Shankar Gupta and BD Mahajan, Ajanta, Ellora and Aurangabad caves. DB Taraporevala
and
sons, Bombay, 1962, pp.90-100; Debala Mitra, Ajanta, Archaeological Swvey of India, Eleventh edition,
New Delhi, 1996, pp.67 -68; George Michell, The Penguin guide to the momnnents
of
India Buddhist Jain
Hindu, Penguin Group, England, Vol.I, 1989, pp.337-341. In this story, the Banyan deer Bodhisattva and
the branch deer, along with their respective henls, were entrapped into the royal park of he king Varanasi,
who was found of deer-flesh. In order to avoid random killing, the members of the henl decided to send a
victim each day to the slaughterhouse by casting lost. The lot having once fallen
on
a pregnant doe,
Bodhisattva,
who
had been granted immunity
by
the king, offered himself
as
a substitute. The spirit of
sacrifice moved the king so much that he granted immunity to all creatures.
EB
Cowell, The J ataka or stories
of the Buddha's former births,
tr.
Robert Chalmers, Motilal Banarsidass Publishers, Delhi, (reprinted) 1990,
Voll, Jataka
No.
12 pp. 36-42.
98
Dieter Schlingloff, Studies
in
the Ajanta paintings: Identifications and intetpretations, New Delhi, 1987,
· ~ . 1 2 8 148 respectively. .
s HP Ray pointed out that even when the same story is depicted there are variations in the pictorial
representations depending both
on
the space available and as ell as the creative genius of he artists. See The
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
26/88
371
Jatakas are conspicuously different from each other. Most_probably these depended on the
various tastes
of
he painters, donors and the incumbents
of
the caves and also according
to the available space on the walls.
It is obvious that except at Ajanta, the paintings of Jataka stories have not been
preserved at other Buddhist painting sites of peninsular India of the period concerned.
The situation
is
quite the same even in Sri Lanka since a series ofJataka paintings are no
longer extant, except those found at Tivamka image house at Polohnaruva and
Maravidiya in Dimbulagala both belonging to the twelfth century
AD.
Although these
are also now in a dilapidated condition it is obvious that as in the case of Ajanta, the main
themes
of
these two places were also the Jataka stories and the major events
of
the life
story
of
he Buddha. But,
of
he Jataka stories thus painted at Tivamka shrine, so farQnly
a few have been identified.
100
They are Vessantara,
101
Asanka,
102
Sasa,
103
Tundila,
104
winds
of
change: Buddhism and the maritime
links
of
early south
Asi b
Oxford University Press, Delhi,
1994,p.l46.
100
GA Joseph, Demalamahaseya paintings, 1164-1197 AD, Ctrylon Administration Re.ports for 1918,
Government Printer, Colombo, 1919, pp. D3-D4; CE Godakumbura, Murals at Tivamka pilimage,
Archaeological Department, Colombo, 1969, p .l5; Nandadeva Wijesekara, An introduction
to
the 55
Jataka stories, Selected writings, TisaraPress, Dehivala, Voll 1983, pp.l28-137; Sarlcis Katchadourian,
Catalogue of he exhibitionof Sinhalese frescoes from Sigiriya and Polonnaruva, ed. RV Leydon and HLM
Williams, Bombay Art Society Salon, May 17-
27
1940, Nos. 17-51.
101
The painting in the middle panel, according to Bell's belief, depicts the Vessantara Jataka story. HCP
Bell, Archaeological Smvey ofCeylon: North Central, Northern and Central provinces Annual Re.port for
1907, Government Printer, 1911, p.33. Nevertheless, Godakumbura does not agree with Bell's
identification. CE Godakumbura, Murals
at
Tivamka pilimage, Archaeological Department, Colombo,
1969, pp.l6-17.
In
fact, for the Sinhalese Buddhists, the Vessantara Jataka story has occupied a special place
among
the paintings
from
earliest times
up
to modern period. See Margaret Cone and Richard F Gombrich,
The perfect generosity
of
prince Vessantara, Clarendon Press, Oxford University Press, 1977.
This
story
involving a seriesofdifficult situations regarding the Dana paramita (preparation for perfect generosity) has
a strong impact
in
stimulating pious intentions and emotions.
It
is therefore capable,
in
every way, of
arousing an intense delight and satisfaction among pilgrims. The massage given to pilgrims by this Jataka
painting is, that the Buddha made ll those sacrifices not merely for his own emancipation but for the
purpose of liberating other humans and gods undergoing incessant suffering in Samsara This story can
contribute towards increasing faith
in
Buddha
as
well as motivating people to
follow
the path shown by
Buddha. Thus, the Vessantara Jataka painting was intended on the
one
hand, to bring enjoyment to pilgrims
and on the other
to
enhance their religious
faith.
Nanda Wickramasinghe, Mural paintings: 800 AD -1200
AD, Archaeological De.partment centenary ( 1890-1990) commemorative series, Volume five - Painting,
ed.
Nandadeva Wijesekara, State Printing Corporation, Colombo, 1990, p.57; EB Cowell, The Jataka or
-
8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts
27/88
372
Vidhurapandita,
105
Guttila,
106
Cullapaduma,
107
Maitribala,
108
Mugapakka,
109
Sarna,
Mahasudassana, no Kusa, n
1
Mahaummagga
112
etc. Nevertheless, unlike the Jataka
stories of he Buddha's former births,
tr.
EB Cowell and WHD Rouse, Motilal Banarsidass Publishers,
Delhi, (reprinted) 1990,
Vol.
VI, Jataka No. 547, pp.246-305.
102
The Asanka Jataka is painted on
the
right wall
of
he building, which forms a part of he access to the
vestibule near the entrance. See HCP Bell, Archaeological Survey
of
Ceylon: North Central Northern and
Central provinces Annual Report for 1907, Government Printer, 1911, p.33. At present, this painting has
been affected
to
a great extent. The summary of the story, which relates ofa heavenly being born
as
a girl in
a lotus growing i