The Themes of Buddhist Mural Paintings and the Canonical Texts

8/18/2019 The Themes of Buddhist Mural Paintings and the Canonical Texts

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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


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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.


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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.


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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.


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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


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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.


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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.


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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


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.


10/88


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.


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.


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.


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


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.


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.


17/88


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


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


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


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


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.


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


of


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


of


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


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.


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


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.


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


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,


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


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,



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


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


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


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

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Documents

The Themes of Buddhist Mural Paintings and the Canonical Texts