Paintings of Ajanta #3 - Mahajanaka Jataka

It was suggested by Prof. Swaminathan, that for a clearer understanding of my earlier Post #2, I should do a detailed step by step explanation of at least one panel, along with the Jataka story - to elucidate my points better.

Here I have attempted to do that with the Mahajanaka Jataka Tale in Cave 1. It is located on the left wall, in the centre, as a linear panel.

This is an important, yet fairly simple composition executed in the Baroque Style of Art.

Mahajanaka Jataka - Cave 1 - Schlingloff and the Net

The Story ...

Once upon a time, in Mithila, in the Kingdom of Videha, there was a king Mahajanaka, who had 2 sons - Aritthajanaka and Polajanaka. After his demise, Polajanaka went to war with his brother, defeated him and killed him. 

Aritthajanaka's queen, in exile, gave birth to a son named Mahajanaka, who was no less than a Bodhisattva himself. He went all over the world, as a merchant, amassed enough wealth and regained his father's kingdom.

Meanwhile Polajanaka died, leaving behind, his beautiful daughter Shivali. 3 difficult conditions had to be fulfilled by anyone wanting to marry her. Mahajanaka fulfilled all the 3, married her and lived happily, ruling from Mithila.

But he soon grew tired of all the luxury and material comfort of the palace life and wanted to renounce this and lead an ascetic life. 

When he mentioned this to Shivali, she first refused to accept this and tried to entice and seduce her king with music, dance and then her own self.

But the King's heart was not in any of these. He left the palace to go and meet an ascetic/ teacher who preached to him about salvation and solitude.

Convinced, the King returned to the palace, informed his queen and subjects about his decision and finally left the palace with great fanfare to proceed towards an abode of his calling, to meditate and attain wisdom.

The Painting/Panel ...

Essentially painted above the lintel, the Painting has 7 scenes - each of which, I have tried to explain in detail.
The Painting only concentrates on the main tale of the Bodhisattva and his renunciation. His past is not illustrated.

The Overall Panel - with Individual scenes marked out.

The Painting can be broadly divided into 7 scenes

1.   Looking at some women preparing cotton, the King gets his idea of wanting to live alone.

2.   The King tells the Queen about his decision, but she tries her best to seduce and beseech him. 

3.   She also arranges for a music and dance performance to entice him & divert his attention.

4.   Unmoved, the King leaves the palace to go and meet an ascetic and seek advice.

4a. He is accompanied by warriors, standard bearers and minstrels.

5.   Along with his retinue, the King listens to the sermon of the master.

6.   Returning to the palace, the King informs the Queen about his decision.

7.   After convincing her, he leaves the palace one last time, with all fanfare, accompanied by his subjects.

 

Use of Architectural Elements 

Like all paintings in Ajanta - within a large panel, there is no conventional separation/ fragmentation of scenes using Frames.

Instead Architectural elements are used to act as unobtrusive dividers that allow for seamless blending of individual scenes into an overall composition that follows all the basic rules of art like balance, harmony, focus etc.

Further these elements are used to

-  Highlight a focal activity from its surroundings by showing it inside a Pavilion

-  As backdrops for certain scenes and spaces like Palace Courtyards (Pavilions and building facades)

-  Highlight transitions both physically and metaphorically (Palace Gates)

-  Represent not just a physical space, but a social milieu.

Thus buildings and their elements are intrinsic and integral to the painting.

Scene 1 ...

Scene 1 - Me and Schlingloff

Here the King is supposed to be having his moment of epiphany by seeing women working on cotton preparation.

One woman is wearing 2 bangles, which clash together and resound, while the solitary bangle on the other woman remains silent.

His decision to seek solitude emerges thus.

-  The women are shown inside a Pavilion - thus making them a focus while the King is outside observing.

-  It also helps to demarcate a scene seemingly inconsequential at one corner of the Panel.

-  A series of steps are used to connect this Pavilion to the next one - showing a sequence of Activities and moving the story forward.

- The simple design of Pavilion also indicates a humble surrounding.

-  The Women are grouped together - at work.

-  Their sensuous body language and grace and rhythm are typical of all Women portrayals.

-  Simply adorned with minimal jewelry and flowers in their hair.

Scene 2 ...

Scene 2 - Schlingloff and me.

The King tells the Queen about his decision, while they are surrounded by her retinue.

She is heartbroken, beseeches him and tries to entice him.

-   Once again the Pavilion is used to create a focus for the central activity. The 4th wall is broken and you are gazing straight at the King and the Queen.

-   All secondary participants/ onlookers are kept outside the Pavilion.

-  The outermost pillar of the Pavilion helps to demarcate and contain the scene.

-  The Ornate and elaborate design of the Pavilion indicates the royal stature of its occupants.

-  Buildings grouped as a facade at the back - indicate the location as a palace courtyard.

-  The King is portrayed with complete regalia, jewelry and ornamental crown. His expression captures his confusion, dilemma and disinterest. He has no eye contact with the Queen.

-  The individual and overlapping portrayal of the women is a signature style of Ajanta.

Scene 2 - Benoy Behl and ASI.

- Shivali is leaning into the King in a sensuous, intimate way - her entire being suggestive of seduction and surrender at the same time.

- Her face portrays her grief, anxiety and concern as she tries to catch the eye of the King, who is not really looking at her.

- The other women, languid in their poses are variously leaning, standing, sitting or squatting.

- Most of their expressions convey anxiety and concern, while their hands indicate request/ pleading 

- A couple of women (including one pressing the Queen's feet) is looking the other way, creating a continuity with the next scene.

Scene 3 ...

Scene 3 - ASI and Benoy Behl

The Queen arranges a programme of Dance and music to entertain the King and try to engage him afresh in the sensual and artistic pursuits available to him in the palace.

-  Here the Pavilion with a unique design and distorted/ reverse perspective is used as a backdrop to highlight the principal dancer and her retinue.

-  A stand alone pillar with a couple of women around establishes spatial continuity and sequence of activity with the previous scene.

- Overall detailing indicates a palatial setting.

-  The Women portrayed here, are some of the most beautiful and graceful in Ajanta.

-  They are all mostly clothed in a variety of fabrics and adorned in simple jewelry and flowers.

-  Though they are varied in their postures, they uniformly convey fluidity, motion, rhythm and grace.

-  This is among the fewer scenes (in Ajanta) filled with the joy and festivities, as celebrated in the society, then.

Scene 4 and 4a...

Scene 4 - Me and Schlingloff

Here, the King, unmoved by the Queen's pleas, leaves to meet an ascetic/ master to discuss his desired path.

The Palace Gate acts as a Transition point in the painting

-  Between 2 scenes

-  For the Act of leaving the palace and going outdoors

-  For showing the change in the Kings heart - of wanting to switch to a different life.

-  Since the scene is outdoors, presumably in a garden or jungle - no other building elements are seen.

-  The King is leaving on an elephant as though on a royal procession, complete with warriors with weapons.

-  His retinue, unaware of the scenario, are busy in their own acts. 

Scene 5...

Scene 5 - Schlingloff and Me

The King meets the Ascetic and listens to his sermon along with his entire retinue. He feels vindicated in his chosen path.

Since this scene is played out completely in the open (possibly in a jungle), there are no building elements here except

-  A pile of stones at the Ascetic's feet (in front of which a devotee is kneeling down), a pedestal of sorts, forming a continuity with the previous scene

-  Some buildings in the distance indicate the backdrop of a city far away.

-  The Ascetic, as he is the Teacher, is shown elevated - sitting on a Pedestal

-  The King, in a far simpler costume, jewelry and crown, is sitting humbly at his teacher's feet. His body language is one of surrender and humility with folded hands.

-  His retinue, some of them still on elephants, have surrounded the Master with rapt attention.

-  Even the animals, including the 2 deer at the Master's feet are focusing totally on him.

This is a scene where the power of sermonising & its ability to unite man & beast alike is clearly depicted.

The Ascetic and the King - Benoy Behl

Scene 6...

Scene 6 - Me and ASI

The King, having made up his mind, tells Shivali - his decision to abdicate and leave the palace.

-  Here the emphasis is on showing what all the King is leaving is behind. Hence he is not isolated inside a Pavilion. Instead, along with the Queen and her retinue, he is shown in front of an elaborate backdrop of ornate buildings (The Palace).

-  The focus is on the people and their reactions. There are no building elements in the scene - except structures in the foreground, at the bottom (again a distorted perspective) to show an enclosed courtyard, in the Palace.

-  There is a marked contrast (to Scene 2) in the way the King and Queen are portrayed. It is no longer an intimate scene. Hence too, the absence of a Pavilion enclosing them.

-  The King is serene, composed and clear. He has eye contact with the Queen and his posture is one of relaxed ease.

- The Queen sits away from him and stoic acceptance and dignity personify her.

-  Both are clothed differently than before, wearing less ornaments & simpler costumes.

- The women surrounding them are in various poses showing anger, anxiety, perplexity and mere curiosity. While some of them are focusing on the royal couple, a few are having their own conversations.

Scene 2 and Scene 6 - Difference in the Portrayal of the Royal Couple.

The King and the Queen - Benoy Behl and ASI

The Women (The Varied Expressions) - Benoy Behl and ASI

Scene 7...

Scene 7 - ASI and Benoy Behl

The King leaves the palace, to realise his calling as a Bodhisattva.

His departure is in full regal splendour amidst fan fare and his loyal subjects.

Once again, a Palace Gate is used as a Transition device to show

-  The Physical exit of the King from the palace to the outside world

-  His metaphoric transfer from a life of luxury & comfort to one of ascetism and self realisation.

-  The King has a serene expression and is riding a horse (Not an elephant because this is not a celebratory Royal Procession)

-  He is simply clothed though the crown is still there.

-  His subjects include a variety of musicians, including a conch blower, a cymbal player and a percussionist. (Perhaps it was a custom to give people a musical send off)

-  People also show expressions of acceptance. No one is shown anxious or grieving.

Mahajanaka Jataka is one of the simpler panels at Ajanta, with straightforward sequencing and scenes of narration. Also most of it is intact and identifiable.

The locations of activities are few (The palace and the jungle and the path in between).

The no of scenes are also minimal with each scene having a specific focus and clearly linked to the previous and next scenes.

The principal characters are few (King, Queen and Ascetic). Rest are just the retinue and onlookers, who add to the denseness and detailing of the scenes.

Yet, this panel offers excellent scope for studying both the portrayal of people and usage of Architectural elements to convey a complete story, in its physical and social context.

The individual panels blend seamlessly, yet retain their identity.

Indoor and outdoor spaces are equally well detailed, giving us a glimpse into the type of structures and life styles that existed then.

As always in Ajanta, each and every person is detailed fully, including his/her body language and facial expression.

Thus society, as a whole is portrayed and you realise, the various sections of society intermingled freely and participated in each others lives and man and beast co-existed in harmony.

As mentioned by Prof. Swaminathan - 'This is only a drop from the Ocean of Ajanta Art!'

Several of the other paintings in Ajanta are far more complicated.

But they can be understood and appreciated on the same basis by first knowing the jataka tale completely and then identifying the scenes based on the markers used.

Professional photographs / sketches further help us to understand the detailing and techniques of drawing, painting and perspective.

Paintings Of Ajanta #2 - Architectural and Building Elements

When I looked at the Ajanta paintings closely, 2 things struck the architect in me immediately.

 -  The Panels exhibit a scale, extent and canvas which is unique in the seamless way in which the various scenes within are delineated.

-  It almost appears random at first. Scenes do not follow any order of location and their distribution seems arbitrary.

-  On closer scrutiny, I realised, Architectural/ Building elements are used repeatedly to create transition points and boundaries within a large canvas. And then it does not appear random at all.

-  Scenes are grouped geographically or spatially and the elements are used as markers of identification along with nature, animals and people

Sutasomajataka - Cave 17 - Gopu

Sutasomajataka - Cave 17 - Schlingloff

This highly complicated panel, acquires its entire logical division and order (and hence the story telling) through the Architectural elements used with great thought.

The windows, Balconies, Pavilions, Palace Gates and other elements help in 

-  Positioning and Grouping Scenes.

-  Identifying a space, an activity and sequentially connecting it.

-  Seamlessly integrating scenes across the canvas, yet giving each scene its own identity.

-  Creating invisible boundaries for each scene - making it a complete expression of art on its own.

This is something so unique and unbelievable in Ajanta art. We are always trying to do this in Architecture. Spatial identity and interconnection through conscious use of specific elements. To see the same followed in art, almost 1500 years back, is truly magical.

A couple of more examples.

Sharabajataka - Cave 17 - Gopu

Matriposhakajataka - Cave 17 - Gopu

The usage of Architectural elements, in Ajanta, is almost similar to how they are used in real buildings in modern times. These elements have been variedly used to

-  Indicate depth and background spaces.
-  Show a sequence of spaces with different activities.
-  Create a facade or a backdrop to some activity in the front.
-  Spatial delineation between indoor/outdoor, 2 geographic locations or 2 different scenes of activity.

-  Represent a social order and its cultural milieu, in short - an entire way of life.

Perhaps these elements are indicative of the type of buildings that existed then and the kind of architecture that was followed.

The Architectural Elements in Ajanta paintings include

Plain Window on a back wall...
This element has been used almost identically in 3 paintings, but serving a different purpose & conveying a different emotion each time.

Viswantharajataka Cave 17 Verandah - Benoy Behl

Line Drawing of above - Schlingloff

Here the window is strategically positioned between the 2 scenes - of Viswantara telling Madri about his banishment from the kingdom (Indoor scene on the right) and the Prince and Madri leaving the palace with the attendants (Outdoor scene on the left).

The wall with the window helps to convey

-  The Palace and its leaving behind - a transitional device

-  Depth and reduced light of Interiors (with the people shown in Grey monochrome), indicating a large palace behind the facade.

- The mood of the people all across - somber, serious and concerned.

Simhalavadhanajataka - Cave 17 - Me and Madanjeet Singh-

This scene is one, where the dead King's representatives come to request Simhala to take over the throne.

- Here the window is used as a device to represent the outside world, where this news spreads like wild fire.

- Representing the general public on the outside, colour is used inside the window (unlike the monochrome earlier).

Sutasomajataka - Cave 17 - Me

This is the scene, where Saudasa is eating human meat and enjoying it.

- The window is the device through which (once again), people come to know about it.

- The light colour inside the window represents the Exteriors/ outside world.

- That people come to know and are then horrified is represented by showing one person, totally dark in colour.

Balconies...

This element is used across numerous paintings to indicate

• Levels and floors in buildings where simultaneous activities are taking place.
• When people are in a dilemma, they have been depicted in a balcony - which is an in between space (between outdoors and indoors)
• Streets where they act as backdrops with people in them.
• Courtyards and other scenes where onlookers are shown from balconies.

Unlike the windows, the balconies are not plain. The decorated pillars and railings and other ornamentations are similar to those found in old Indian buildings across most of North India.

Simultaneous Activities in 2 floors

Vidurapandita Jataka - Cave 2Schlingloff and me and Nalagiri - Cave 17 - Me

People in a dilemma are shown in a balcony (a sort of indoor/outdoor space)

Viswantarajataka - Cave 17, Conversion of Nanda - Cave 16, Simhalavadhanajataka - Cave 17 - Me

 Madri in 2 minds, after being banished from the palace, Nanda in 2 minds after his head has been shaved off, The ogress beseeching the sailors not to leave are all shown in Balconies.

Balconies on the first floor of buildings help to create a streetscape

Viswantarajataka & Sutasomajataka - Cave 17 - Schlingloff and me.

Onlookers are often portrayed in balconies (as part of an overall scene)

Vidhurapanditajataka - Cave 2, Renunciation of Nanda - Cave16, Sibijataka - Cave 1 - Me

Pavilions...

Unlike other elements, there is tremendous variety shown in the depiction of Pavilions. They are almost omnipresent in Ajanta art.

With a sloped or a flat roof, single or 2 stories, with a straight forward perspective, reverse perspective or distortion & fore shortening, the Pavilion is the 2nd element where Ajanta artists have shown their full creativity (next only to women).

Shown as isolated structures or as a series of connected spaces, Pavilions are used to 

-  Depict a certain a focal scene, with a 4th wall broken.
-  To identify a specific space in a large scenescape.
-  As backdrops in a palace courtyard or street.

Sloped Roof Pavilions made of bamboo & wood

Simhalavadhana Jataka & Sibijataka - Cave 1 - Me

Simple Pavilions highlighting a specific activity (Breaking the 4th wall)

Sutasomajataka - Cave 17 & Vidurapanditajataka - Cave 2 - Me

   Series of Pavilions to show simultaneous Activities

Simhalavadhanajataka - Cave 17 - A no of sailors are being seduced by the Ogresses - Me

Series of Pavilions to show sequential Activities

Lustration and Renunciation - Cave 1 - Activities in a sequence - Benoy Behl and Schlingloff

Focal Activity highlighted by a Pavilion

Vidhurapanditajataka - Cave 2 - Vidhurapandita preaching to Naga King, his wife and Poorna
Renunciation of Nanda - Cave 2 - Nanda in extreme grief, regretting his decision - Me

Certain Unique Pavilions

Mahajanakajataka - Cave 1 - As a backdrop for the Dancer and Musicians - Me.
Life of Buddha (Bhagavan) - Cave 16 - Buddha deciding to marry Yasoda- Schlingloff and me.

Palace Gates...

This element is repeated multiple times across most paintings, mostly in a singular context. signifying TRANSITION 

-  from the palace to outside.

-  from a life of comfort to one of renunciation

-  A character leaving or entering the palace.

In Architectural language too, a certain uniformity is maintained making it easy to identify a gate.

A typical Palace Gate (almost identical in look and proportions)

Sutasomajataka and Simhalavadhanajataka - cave 17 - me and Schlingloff

To show exiting of the palace (from a life of comfort to one of austerity) -  

Transition point of Bodhisattva's self realisation.

Mahajanakajataka - cave 1 and Viswanatarajataka - Cave 17 Verandah
Both are leaving the palace and their life of luxury behind - Me

A series of gates establish an entire urbanscape

The Stupa - Cave 9 - Madanjeet Singh

A series of Gates establish the movement between the Island of Ogresses and Simhala's land

Simhalavadanajataka - Cave 17 - Schlingloff

Streetscape...

Entire streets complete with an architectural backdrop to a focal activity in the forefront are portrayed in 3-4 paintings. (Difficult to capture, photographically), The streets have abutting buildings of 2 floors with people looking out. Buildings act as a continuous facade to contain the scene.

The lion walks across the main street, with a baby on her back, to deliver him to the king.

While the scale of the lion is severely compromised, the buildings at the back with people and the palace gate at one end - convey the urbanscape and its spatial quality beautifully.

Sutasomajataka - cave 17 - Me

As the elephant charges towards Buddha in Nalagiri, again the buildings act as a backdrop to the street and actions and expressions of people in these buildings convey anxiety, curiosity, fear and reverence in the end. I was neither able to click, nor get a full canvas here (from any book or the net).

Nalagiri - Cave 17 - Schlingloff and Benoy Behl

Another interesting streetscape from the story of Purna

Purna - Cave 16 - Schlingloff

An interesting sequence of buildings and gates establishing Buddhas travel in his path to attainment

Life of Buddha (Bhagavan) - Cave 16 - Schlingloff

The above is all, that, I could observe and assimilate about Architectural & Building elements in the 2 days we spent there. I am sure there must be lots and lots of hidden gems there - either destroyed over time or unobserved by my untrained eyes.

As an architect, I was so fascinated to discover all the above elements and their contextual incorporation by the Ajanta artists, that truly, words can't describe my feelings.

Not only was Architecture integral to life then, it blended seamlessly into their art.

I, personally, have not seen, any other body of work, where buildings and their elements have been used so effectively to communicate a social milieu, a way of life, a culture and its history.

This reinforces my belief that ever since man learnt to build, buildings are inseparable from our lives.

I feel, a visit to Ajanta and its paintings is a must for every Architect to help reinforce, the core values of our profession and reiterate the fact that Architecture is integral and not at all cosmetic to any society or its culture. To think, this was recognised and documented in India almost 1500 years back, is truly amazing.

Paintings Of Ajanta #1 - Portrayal of Women

I had one of my most enriching experiences, when I visited the caves of Ajanta and Ellora last month.

Like any serious connoisseur of Indian Art and Architecture, I had been wanting to visit these places for almost 20 years, now. From talking to people, who had visited, I knew, for a full understanding & appreciation of Ajanta Art

• one needed to read up and familiarize oneself with Buddhist tales and have some basic understanding of Indian Art 
• one needed a good docent who can throw light (literally and otherwise) on the paintings.

Last year, after I befriended people from THT and Prof. Swaminathan, the founder, my desire to visit Ajanta was rekindled afresh. I was told by several people including Prof, that Gopu was one of the best docents to visit the place with. Only, I didn't know how such a trip would come about.

When Balakumaran casually told me, almost 6 months back, that he might plan a trip to Ajanta and Ellora with Gopu as docent, before he could finish his sentence, I literally jumped & enrolled for the trip. This is how the trip came to be - first week of March.

I attended all the prep lectures diligently, read up all the material provided by Swaminathan Sir and Gopu, printed a lot of stuff including Schlingloff's line drawings & I thought I was all prepared & ready to visit Ajanta.

The Ajanta Caves

The Actual Experience....

As is common knowledge, even though there are a total of 29 Caves in Ajanta, bulk of the paintings are only in Caves 1,2,9,10,16 and 17.

Absolutely nothing can prepare you for the actual experience of being in an Ajanta cave, in that dim light, surrounded by these amazing paintings from floor to ceiling, including the ceiling.

The Architecture and Art blend so seamlessly, not to to mention the natural and artificial lights and shadows adding to the spatial quality, it wouldn't be an exaggeration to say you feel fascinated, hypnotised & in love all at once. Even after so many years of existence and damage - both natural and willful, the colours in the paintings glow with a brilliant intensity: all shades of ochre & yellow, browns & oranges, muted reds & maroons, a range of greens and of course the lapiz lazuli blue.

Play of Light and Shadows inside the Caves

Seamless blending of Art and Architecture

Paintings on the Walls and Ceiling

The subject matter in these paintings is another big surprise. On the surface, they mostly depict scenes from the Life of Buddha or Jataka Tales and most of them are seamless panels of several scenes without any defining boundaries in the middle. But when you look a little closer, you realise that the spiritual and the strikingly sensuous, are present at the same time, almost side by side. What is depicted is a heady mixture of two worlds normally considered incompatible.

A lot has been written by experts and historians on Ajanta, its art, techniques, subject matters and the mystery surrounding it.

What I really want to do, is to have a series of posts, on the people and the architectural and spatial elements used here, across multiple paintings to understand either their similarity or variations & the intent behind their portrayal thus.

Women in the Ajanta Paintings....

According to William Dalrymple

The artists of Ajanta clearly saw nothing odd in  juxtaposing a monk and a dancing girl. There are no panels or boundaries in the Ajanta paintings beyond the physical borders of the cave, and the artists likewise move from the world of the ascetic’s cave to the pleasure gardens of the royal court and back again without recognizing any essential separation between the two.

Women, obviously extraneous elements in a monk's life, have been extensively portrayed across almost all paintings of Ajanta. An art connoisseur's delight,  portrayal of Women, gave full scope for the sensual expression and creative genius of the Ajanta artist.

Women have been portrayed standing, leaning, sitting, front facing, back facing, in profile, alone, with her male consort or surrounded by a retinue.

They are also nude, partially clothed, fully clothed, almost bare with minimal jewelry or bejeweled with various ornaments and intricate hairstyles.

They are fair, various shades of brown and even black.

The moods of these women also vary - from joyous, curious, wonderstruck to gossipy but mostly they are pensive, lovelorn, lost, miserable and even dying in their extreme grief.

Shakti Pandara (Dark Princess) and a lady offering Lotuses to her 
Cave 1 - Benoy Behl

Bevy of Women surrounding the King - including Queen Sivali in
Mahajanaka Jathaka Cave 1

Also, the women of Ajanta are, at various times

• Integral to the Jataka stories where they may be the central characters or Consorts.
• Secondary characters in all their sensual beauty as dancers and musicians.
• Peripheral characters like maids or onlookers, doing various domestic chores.
• Central characters in standalone paintings.
• Part of a Mithuna pair etc

The common features among the women portrayals are

• Almost uniformly sensuous in the soft roundness of her breasts, the curves of her hips, the turn of her head, the gestures of her hands and the slanting glance of her eyes.
• Detailed out fully, irrespective of her caste, class or role in the painting.
• Her body language and expression in total tandem - be it wonder, seduction or grief. 

Moving on to their roles - Women in Ajanta have been painted as

Nayika -  The Central figure...

There are various such portrayals, which include

Nanda's Wife Janapadakalyani and Padmapani's Consort
Cave 1

Not withstanding the common style in depiction of the 2 women, the subtle differences to be noted are

• Grief in Kalyanis face heightened by her facial features, the tilt of her neck and hand gesture. 
• She has no eye contact with others in the painting. Looking downwards, her sadness and loneliness is brought out really well.
• She is not a queen. Hence only flowers adorn her hair. 

• Padmapani's consort is calm, gentle and serene in demeanour, mirroring her partners expression.
• The droop of her shoulders and the angle of her face complement the Padmapani. She is one of the most graceful women at Ajanta.
• She is wearing an ornate crown.

The Dying Princess - wife of Nanda
Cave 16.

This painting shows Nanda's wife on hearing the news that he has joined Buddha's Sangha.
"For pathos and sentiment and the unmistakable way of telling its story, this picture cannot be surpassed in the history of art.” said British painter and Ajanta Expert John Griffiths

Emotion and pathos are expressed here by the controlled turn and poise of the body, and the eloquent gestures of hands and eyes. The dying princess is reclining against a bolster, and a female attendant is holding her. The bent head of the princess, her lowered eyes, the drooping limbs and the sad, tense female attendants; all hint at almost imminent death. 

Though deserted by her husband, the princess is surrounded by deeply concerned attendants.

One is fanning her while clutching her own heart in grief. In an attached chamber stand two other attendants, one with a Persian cap and another with a distinctly Afro-Asian face signalling someone to bring something. Yet another is checking the princess’ pulse, sensing death inch closer.

Lady at the Toilet (My pic and Getty Images)
Cave 17.

This is among the few 'All Women paintings' of Ajanta.

The overall posture, grace and stance of the 4 women exemplify grace and beauty.

Here, the style of 'Artistic Anatomy' is followed, where the thigh and leg-line are reminiscent of the trunk of a banana-tree (tapering lines) and the feet, of leaves (pada-pallava). 

The diaphanous fabric of their bottom garments and the expressions in their eyes adds to the sensuous feminine charm. 

Mayawati - on finding out she is pregnant and after giving birth to Buddha
Cave 2 - Benoy Behl

In the first painting, the queen is worried after meeting the astrologer. She is deep in thought, leaning against a pillar. The stance of the slender and bejeweled queen is extremely graceful, from her slightly bent head to the slim waist and then the round hips. One of the most charming paintings.

In the 2nd painting, the queen has given birth while standing under a Sal tree. She is depicted, holding a branch of the tree above her head. She is looking with wonder and love at her child, supposed to have emerged from the side of her womb. Her general stance is one of fatigue and tiredness and er expression shows resignation to fate, probably.

Consort to her Partner -  

Here she is shown in close proximity with her Husband, supporting him, listening to him, grieving with him etc. In these paintings women play a complementary role and often join the husband in forming a whole.

They are often leaning against or physically overlapping the male - looking up to him.

Else, they sit across in a submissive pose, discussing with him or listening to him.

 

Tender and loving Moments
Vishwantara & Wife (Vishwantarajataka) - cave 1  - Pic Me &
Ogress and Sailor (Simhalavadhanajataka) - cave 17 - Benoy Behl

When the moment is tender and intimate, the woman is shown to be shy and sensuous, all eyes for her man. Her body language (leaning towards her partner) and face tilted towards him are indicative of love and seduction.

Moments of discussion and Consultation
Naga King and Queen (Vidhurapandita Jataka) Cave 1 - Benoy Behl
King Suddhodana & Mayadevi (Life of Buddha) Cave 2 - Benoy Behl

When it is a public appearance, she is in a secondary role, looking up to him. She is shown in a listening pose, all ears, her stance mirroring and complementing her partner.

Receiving news from her partner
Queen Shivali and her King in Mahajanakajataka - Cave1 - My pic
Princess Madri and Prince Visvantara in Viswanatarajataka - Cave 17 - Benoy Behl

Here, the woman is receiving an impending news from her husband. While her expression  shows grief and resignaion, her body language is one of appeal to her husband, beseeching him to reconsider, as expressed in the hand gestures and eyes focused only on her partner.

In the first picture, Shivali is hurt and perplexed that her husband has decided to part from her and leave the palace. Her eyes seem to be begging him while her shoulders and curls in disarray emphasize her vulnerability.

In the second picture - Madri is receiving the news that her husband has been banished from the palace, along with her family. Her compassionate and gentle nature and support of her husband is beautifully portrayed here.

Apsara - 

A celestial being, a type of female spirit of the clouds and waters. Related to divinity, Apsaras are described as wives of Gandharvas, the musicians of Indra’s Sabha. Their mesmerizing beauty is considered remarkable. 

The Apsaras of Ajanta are portrayed with full rounded breasts and broad hips as per the Shadangas of Indian art (six limbs of paintings), with beautiful grace and divine gestures. Mostly in motion, flying or dancing, they have elaborate hairdos with flowers, and ornaments in their necks, ears and waists. They represent feminine charm, elegance, grace and ideal beauty.

Most beautiful Apsara in Ajanta and 2 Apsaras paying obeisance
Cave 17 - Benoy Behl

Dancing Apsaras in the Ceiling - Cave 16 - Benoy Behl

Dancers and Musicians - 

As a dancer, a woman is depicted as a combination of beauty, grace, rhythm and fluidity.

Ornate hairstyle, attractive ornaments, seductive postures, tribhanga mudras are typical. Often portrayed with a group of musicians, they symbolise celebration and entertainment.

The musicians are sitting, standing or leaning playing a variety of instruments.

  

Entertaining the King and diverting his mind - Mahajanakajathaka - Cave 1

Details from the above Painting - Benoy Behl

Group of musicians accompanying Indra during his descent - Cave 17

Group of Women Musicians in the Tushita Heaven - Cave 17 - Benoy Behl
Dancing Women - Cave 10 - Benoy Behl

Maids, Attendants and doing Chores - 

According to Prof. Swaminathan - 

These women, the attendants and maids, and common women in their house-hold chores are drawn with great zest and each one is a brilliant study. They crowd around the heroines, decorating themselves, move about with great dignity in swaying rhythm and listen to holy sermons, recorded in frozen poses.

Typically, they are as detailed as the Nayikas and sometimes more, because of their exquisite clothes. (unlike the central character clothed in nudity) 

They are graceful in their day today activities with expressions echoing the theme of the painting.

Women in the Kitchen - Shibijataka - Cave 1 - Benoy Behl

Women carrying things - Caves 1 and 17 

Women attending to the Queen - Caves 1 and 17

Carrying Fruits and Braiding another woman's Hair - Cave17

Onlookers - 

Often painted as a group, here women are used almost as props to echo the mood of a scene or indicate the milieu.

Again exquisitely detailed and sensuously adorned, these women's expressions mirror those of the King or Queen.

Mirroring Anxiety and Concern in Mahajanakajataka and Champaiyyajataka - Cave 1

Languid and Gossiping - Part of the background - Benoy Behl

Watching the Street from Indoor - Nalagiri - Cave 17 Verandah - Benoy Behl

As part of a Mithuna Couple..

Mostly painted on ceilings and Lintels, here again, the woman forms one half of a sensuous pair portraying intimacy and love. 

Cave 1 To the left of Padmapani and the Ceiling 

My favourite Women - 

Among all the women painted at Ajanta, I have 2 favourites. They are complete contrasts in terms of theme, mood expressed and the woman herself (in terms of age and stage of life).

Irandati from Vidhurapanditajataka - Cave 2

Picture of youth, joy and abandon, Irandati is painted as a lissome girl, who has a song on her lips and romance in her heart.

According to Benoy Behl

The jataka says - 'She gathered all the flowers in the Himalayas.... spread them upon a couch....and sang a sweet song'.

Here the artist has put her on a swing, adding to her liveliness. A sense of fluidity is portrayed through the curve of the ropes and her own pose (legs stretched out and feet pressed together). She is almost waiting for her consort to arrive.

On the left, she is coyly accepting Puranaka's proposal. A picture of feminine charm, her downward eyes and general stance typically convey blossoming of love.

Yashodara with Rahula and Buddha - Cave 17 - Benoy Behl

Picture of love, loss, resignation and acceptance - Yashodara is painted with utmost dignity and grace, in the face of extreme grief.

According to the tales

Gautama Buddha has come before his wife Yashodara and son Rahula. Yashodara has tutored the child to ask for his rightful inheritance (the reign of the kingdom), but Buddha says, he has only his begging bowl to offer.

Owing to his spiritual importance, Buddha is depicted on a much larger scale, towering over. But it is the details of the mother and child and the depiction of emotions there, which makes this a masterpiece.

Rahula is looking adoringly at his father.

Yashodara is bedecked in jewellery and wants to entice and induce her husband to stay with her. Embodiment of feminity, grace and helpless love, heightened by the casual curls of her hair and beseeching look in her eyes.

Yet the overriding emotion here is one of resignation, acceptance and dignity. She is bowing to her fate, a mother foremost, the way her hands rest on Rahula, in a firm bid to hold onto him, speak volumes.

This completes my post on Women of Ajanta. 

However the questions remain. Who are the artists who painted these marvels?

Monks, the locals or commissioned painters? 

Whoever it may have been, they had a deep understanding of not just art, drawing and painting techniques and the social milieu and the role of women there, but also of the feminine gender as a whole, across time and space.

Women of Ajanta do belong to a particular age and time, and are characters from the jataka tales and representatives of a certain social order. Yet they are quintessential women, who are universal in their charm, grace, dignity and sense of purpose and the emotions they represent ring true even today, almost 2000 years, after they were painted.

To quote William Dalrymple

The faces in the paintings convey a penetrating immediacy in their character. So contemporary are their features, so recognizable the emotions they convey, that you have to keep reminding yourself that these people are not from our world. They depict courts, palaces and jungles, that vanished from these hills more than a millennium ago.

I hope I have shared at least a small percentage of the joy, wonder, pride, familiarity and sense of complete identification that I felt after seeing the paintings at Ajanta.