Indian Antiquary Vol 03

Author(s): Jas Burgess
Publisher: Swati Publications

Page 34

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THE INDIAN ANTIQUARY.
(JANUARY, 1874.
The following extracts from Mr. Griffiths' inter- of Buddha was publicly exposed on sacred days in esting Report will convey some idea of the char- the capital with gorgeous ceremonies which he acter of the frescoes and the style in which they recounts, and thence carried in procession to the are executed :--The artists who painted them, he mountains without fear; the road to which was says, "were giants in execution. Even on the verti. perfumed and decked with flowers for the occasion; cal sides of the walls some of the lines which were and the festival was concluded by a dramatic drawn with one sweep of the brush struck me as representation of events in the life of Buddha illusbeing very wonderful; but when I saw long delicate trated by scenery and costumes, with figures of curves drawn without faltering with equal preci- elephants and stags so delicately coloured as to be sion upon the horizontal surface of a ceiling, where undistinguishable from nature. The foot of men. the difficulty of execution is increased a thousand- taking part in and witnessing such sights widefold-it appeared to me nothing less than miracu- scribed above will account, in some measure, for lous. One of the students when hoisted up on the the processional scenes which are painted on the scaffolding, tracing his first panel on the ceiling, walls at Ajanţa." naturally remarked that some of the work looked The first of Mr. Griffiths' copies is a picture 8 like child's work-little thinking that what ap- feet by 6 feet 3 inches. This painting is composed peared to him, up there, as rough and meaningless of a central figure of colossal size, and portions of had been laid in by a cunning hand, so that when ten others, seven of them being about life-size. In seen at its right distance every touch fell into its it he calls special attention to the drawing of the proper place.
heads of two women in the left-hand corner, and "The condition of mind in which these paintings the portion of the woman's face and arms on the at AjantA were originated and executed must have right. "Additional interest," he remarks, "attachbeen very similar to that which produced the earlyes to this picture from the fact that nearly all the Italian paintings of the fourteenth century, as we ornaments which were used to adorn the person find much that is in common. Little attention paid are here in a very good state of preservation, and to the science of art-a general crowding of figures are most admirably drawn-especially the twist into a subject, regard being had more to the truth that is given to the string of pearls on the colossal ful rendering of a story than to a beautiful ronder figure--and those round the neck of the woman in ing of it: not that they discarded beauty, but they the left-hand corner and the chain round the did not make it the primary motive of representa- neck of the figure to the right with an accidental tion. There is a want of aërial perspective-the hitch in it. I would also call attention to the parts are delicately shaded, not forced by light drawing of the long pointed nails of the same figure, and shade, giving the whole a look of flatness--a and also those of the colossal figuro: many of the quality to be desired in mural decoration.
bracelets differ little in design from those now “Whoever were the authors of these paintings, worn, and the white wreaths of flowers in the hair they must have constantly mixed with the world. of the women are similarly worn by native women Scenes of every-day life, such as preparing food, at the present day." carrying water, buying and selling processions, The second picture is 61 by 31 feet. "This sub. hunting-scenes, elephant-fights, men and womerject has fourteen figures assembled under what engaged in singing, dancing, and playing on appears to be a wooden canopy. The two seated musical instruments, are most gracefully de- male figures, who are profusely ornamented with picted upon these walls; and they could only jewels and flowers, are apparently engaged in a have been done by men who were constant specta- dispute, while the others, principally women with tors of such scenes, by men of keen observation long curly hair, are eager listeners. Parts of this and retentive memories. The artists certainly picture are admirably executed. In addition to could not have observed one of the ten command- the natural grace and ease with which she is standments which Buddha imposed to abstain from ing, the drawing of the woman holding a casket public festivals. In every example that has come in one hand, and a jewel with a string of pearls under my observation, the action of the hands is hanging from it in the other, is most delicately admirable and unmistakeablo in conveying the and truly rendered. The same applies to the woparticular expression the artist intended.
man seated on the ground in the loft-hand corner. "Sir Emerson Tennent in his work on Ceylon The upward gaze and sweet expression of the states that the Chineso traveller Fa Hian, who mouth are beautifully given. The left hand of the lived in the fifth century of the Christian era, de- same woman ... is drawn with great subtlety and scribes tho condition of Anurajapura and the cere tenderness." monies which took place there. "The sacred tooth The third picture is a copy of a portion of the
. Soe Mrs. Spiers'ı Life in Ancient India (1856), p. 280.