Indian Antiquary Vol 59

SR No.: 032551
Original Sutra Author: N/A
Author: Richard Carnac Temple, Charles E A W Oldham, S Krishnaswami Aiyangar, Devadatta Ramkrishna Bhandarka
Publisher: Swati Publications
Publication Year: 1986
Total Pages: 380
Language: English
Classification: Book_English
File Size: 16 MB

Page 185

SEPTEMBER, 1930 ]
THE CULTURE OF MEDIEVAL INDIA
169
THE CULTURE OF MEDIEVAL INDIA AS ILLUSTRATED BY THE
AJANTA FRESCOES. BY K. DE B. CODRINGTON.
(Continued from page 162.) With warp-and-woof dyeing, bandhana or tie-and-dye work, must be classed as a radically Indian art. 14 In this process the material is pinched up between forefinger and thumb according to the desired pattern, and securely tied with thread. The majerial is then dyed and the process repeated according to the number of colours in the pattern, which is realized in small dots or rings. The art in modern India belongs almost entirely to Rajpatanå and goes under the name of chunari, Baran in Kotah State being famed for it. The patterns used are called ekdali, chaubandi, sdtbandi, according to the number of knots in the repeat. Here again beldar scroll designs are used, as well as jaldar diagonal work. At Ajanta single dots or simple groups of dots only appear, but in modern examples the ubiquitous imported shikar. gåh patterns have intruded into this craft as well as others.
Lastly, the list of Ajanta textiles must be completed by the mention of fine muslins. Spotted muslins occur occasionally and are used chiefly for scarfs.
A survey of modern Indian textiles leaves the impression that Mughal influence has been paramount. Yet underneath and apart from this influence, with its resulting floral diapers and sprigged patterns, there can be traced a certain run of designs that recur not only in loom work, but in embroidery and in warp-and-woof dyeing. Checks and tartans predominating, the result is always formal and usually strictly geometrical, certain well-defined motives, such as the sacred goose, being exoepted. It is significant that these designs should appear in fabrics of such varying material and technique. From this point of view and from the point of view of the Ajanta cane-shields the fine reed mats of Southern India from places as far separated as Palghat in Malabar, Pattamadai in Tinnevelly, and Ganjam and Vizaga patam are most interesting. 16 In these and in the cotton darís and shatranjis that were recently woven all over India this older school of design is perhaps most clearly visible. C. SHIPS AND BOATS
Four types of ships are to be seen at Ajanta. The simplest of these appears in Care XVII. 18 It is canoe-like and has two masts, one topped by a trident emblem. It is, however, olearly not a dug-out. Again, in the same cave the army of the victorious Sinhala is shown in process of transportation against the Raksasas, horses in one boat, elephants in two others. These boats are wide in the beam and ride low in the water; their grotesque makara figureheads are the most notable things about them. The boat in the so-called Mahdjanaka Jataka in Cave I is altogether a larger affair. It is symmetrically built with high-pitched, finely-cut bow and stern, on both of which oculi are painted. Its fore-and-aft planking is plainly shown. The passengers sit at their ease under & square awning, while the motive power seems to be confined to the efforts of a single sailor in the bows and of his mate, who works a long paddle on the starboard side from a most precarious perch on a ladder set vertically in the stern sheets. The merchant ship in distress of the Parna Avadana in Cave II has a full set of sails, aided by two paddles fitted with rowlooks amidship.17 The cargo of jars is stored under an awning aft, the three masts with their rather unconvincing square sails being wellforward. 18 In addition a jib is fitted in a peculiarly complicated manner and flies a small triangular sail without visible means of support.
The problems of Indian shipping are manifold. It has been suggested that the lateen sail was imported from the east into the west. The Roman suppara is said to have been a triangular top-sail of some kind, and it is certain that the Arab word for lattine literally means "top-sail." In Indian waters as a whole, the lateen is certainly the sail in spite of these
14 Jour. Ind. Art, vol. II, p. 63, and vol. III, plates 17 and 18. 15 Havell, Jour. Ind. Art, vol. III, No. 27. 16 Plate 72, I. 8., 19, 1892.
11 Plate 34, 1. 8., 42, 1885. 18 These seem to be of matting : the usual Tamil word for sail moans. mat.'