Indian Antiquary Vol 60

Author(s): Richard Carnac Temple, Charles E A W Oldham, S Krishnaswami Aiyangar, Devadatta Ramkrishna Bhandarka
Publisher: Swati Publications

Page 187

AUGUST, 1931 ]
BOOK-NOTICES
159
features of towns and palacos-truly life in high, pierced gold crown and golden ornamenta, all profusion, glowing in colour : yet we are which lighten up her olive-brown complexion most told that only "lamp-black, red-ochre, yellow artistically. A noto tells us that the apparent ab. ochro and lapis lazuli formed the principal sence of covering on the upper part of the body is colours."
due to the reproduction, as the fine brush lines indi. Part I illustrates the frescoes of Cave I, one of the cative of gauzy muslin are visiblo on the frosco. later caves. Art and Buddhism had learnt new Very fine, diaphanous materials, such as the cele. modes of expression during the centuries of Ajanta's brated Dacca muslins, were used by the rich; and growth; but the ideal is still that of the Buddha, his even on statues of the Buddha it is often difficult to renunciation, his infinite compassion for others, and see the lines of his garment. that devotion which is the fulfilment of charity Plate XXVIII (in colour) gives a highly imagi portrayed anew in the conception of the Bodhisattva. native and crowded, but well composed, scene of tho We have hero Ajanta's supreme expression in the temptation of the Buddha by Maro and his host. grand figure of the compassionate Bodhisattve, The various emotions expressed in the faces of the Padmapâni, a favourite namo of Avalokitesvara assailants and temptresses are in marked contrast (Plates XXIV-XXVII). Golden-hued, as behoves to the imperturbable sererity of the seated Buddha. Buddhist tradition, his form is graceful in its supple whose right hand points downwards, as he calls the strength, as, slightly bending, he holds the lotus in earth to witness tho good deeds of his former lives his right hand, the begging bowl in his left, and locks Various positions of the hands (mudras) appear on down with pitying eyes upon men. The expression Plate XXIIIb, where a number of Buddhas may be of his face recalls his vow, that he will never enter seen seated or standing upon a lotus against a backhiruara until he has saved all living beings. He ground of flowers. Buddhist iconography had remains listening to the cries of fear and pain, the greatly developed since its early beginnings in the Bodhisattva of hope, the ever compassionato Protec. symbolism used to represent the Buddha--the tor of half Asia. His majestic figure dominates the wheel of the law, tree, footprints or empty thronoscene, yet he is one with the people as he holds the at Bharhut and Sanchi. begging bowl towards them, that they may attain Plates XIX and XXXV, among others, remind merit by giving to the perfect one. All the lower us of sculptured friezes at Boro Budur and of sculp part of the fresco has peeled away, but fortunately ture and art in Cambodia and China. The story of the upper portion has been left to show that Bud. Ajanta closed about 650 A.D., but it still retains its dhist painters have their place in the world's highest place in the history of Indian art. Buddhism car. art. The other two great Bodhisattvas are more ried its art with its spiritual teaching for a field. The damaged. Of one (Plate XXX) there is left & unifying offect of great tradition-perhaps unique beautiful arm and head and part of the fine face. in India's history-has set its seal on the art of The pair of jungle folk (? Bhils) in the upper left.
Indonesia and is recognized in that of Central Asia hand corner, however, are most lifelike, as they and China. liston eagerly to the great Being from behind a
M. F. H. palisade, through which a pair of wild fowl have poked their heads. The male figure has half mount.
TENTH AND ELEVENTH REPORTS ON THE SEARCH ed the barrier, and looks as if ready to vault over OF HINDI MANUSCRIPTS for the years 1917-19 and fling himself at the Bodhisattva's foot, while and 1920-22, by RAI BABADUR HIRALAL, B.A. the woman apparently expostulates with him. 91 x 6 in.; pp. xi+ 511, and vii+513. Alla The fresco reproduced on Plates XXXI-XXXIII habad, U.P. Government Press, 1929. is far better preserved, except for the Bodhisattva's The systematic search for Hindi manuscripts lower lip and neck. He differs much in both features was commenced in 1900, under the patronage of and colour from the others, and would seem to be the Government of the United Provinces, by long to another race. The varied ethnical types Bâbů Syåmasundara Dasa, whose name will ever portrayed at Ajanta are interesting and important. be gratefully remembered by Hindi scholarm The female heads in this fresco are very pleasing, for the splendid work done by him in connoxion verpocially the two in the lower left-hand corner, one with the publications of the Nagari Pràcarini of which is shown in colour, enlarged, on Plate Sabha and as editor of the great Hindi dictionary XXXII. This lady has a serene expression and called Hindi-Sabdasdgara. For the first nine years beautiful hazel brown eyes. Round her dark hair the work was supervised and reported on by is a white band, which also appears on the female Syamasundara Bâbd himself, and seven Reports heads in the palace scenes. Many of these bands covering that period were issued by him. Pressure would seem to be made of flowers and leaves, worn of work, however, compelled him to hand over in addition to the row of jewels across the forehead. the tasks to others, with the result that the work There is much variety also in the colouring of the fell into arrears. The 8th and 9th Report. female figures, from nut-brown, olive or golden- | dealt with the eight years ending with 1916. For brown and brick-red to paler shades-oven an ashen- tunately the distinguished scholar Rai Bahadur grey. Very effective is the pensive Râni with a 1 Hiralal was ultimately prevailed upon to tako