DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.2371#0333
AJANTA.
311
Below the great circle is a green raja-like figure labelled Mdnib-
haira, and to the left of it a painting of the Litany now much
defaced. On the upper part of the back wall is a good deal of paint-
ing in fragments. To the right a group of three female and one male
figure floating through the air accom-
panied by two swans (woodcut No.58).1
It is not easy to feel sure what this
picture is meant to represent. It
looks like three Apsarasas bearing or
rather accompanying the soul of a
deceased saint to heaven, or it may be
merely a Grandharva accompanied by
Apsarasas. Such flying figures are
very usual, in pairs, in Buddhist
sculptures of this age. Be this as
it may, however, whether we look at
its purity of outline, or the elegance
of the grouping, it is one of the most
pleasing of the smaller paintings at
Ajanta, and more nearly approaches
the form of art found in Italy in the No-59" Bu,Wha and the ElePhant-
thirteenth and fourteenth centuries than any other example there.
The easy upward motion of the whole group is rendered in a manner
that could not easily be surpassed. Towards the right end of the
verandah and partly on the end wall is the scene in which Deva-
patta tries to get Buddha destroyed by an enraged elephant, which
however kneels at Buddha's feet (woodcut 59).2
■The ceiling of the verandah is still pretty entire, and was copied
"J the late Major Grill, his copy being at South Kensington.
Ihis cave contains more remains of painting than any other,
*ȤAa bringing offerings to the Ajanta Bhikshus ? A sketch of it is given in my
0tes on Amta Temples and Paintings, Plate XVI.
I From Mrs. Speir's L. in An. bid. p. 370.
Iom tne same, p. 290. This scene occurs also in (he Amaravati sculptures;
Fer
g»sson's Tree and Serpent Worship, 2nd ed., Plate LXXX1L, Fig. 2. For the
~2 See Bigan(let's Legend of Gaudama, 2nd ed., p. 250; conf. Vie de Hiouen
m»9, p. 153; Mem. sur /es Cont. Occid. t. ii. p. 16.
311
Below the great circle is a green raja-like figure labelled Mdnib-
haira, and to the left of it a painting of the Litany now much
defaced. On the upper part of the back wall is a good deal of paint-
ing in fragments. To the right a group of three female and one male
figure floating through the air accom-
panied by two swans (woodcut No.58).1
It is not easy to feel sure what this
picture is meant to represent. It
looks like three Apsarasas bearing or
rather accompanying the soul of a
deceased saint to heaven, or it may be
merely a Grandharva accompanied by
Apsarasas. Such flying figures are
very usual, in pairs, in Buddhist
sculptures of this age. Be this as
it may, however, whether we look at
its purity of outline, or the elegance
of the grouping, it is one of the most
pleasing of the smaller paintings at
Ajanta, and more nearly approaches
the form of art found in Italy in the No-59" Bu,Wha and the ElePhant-
thirteenth and fourteenth centuries than any other example there.
The easy upward motion of the whole group is rendered in a manner
that could not easily be surpassed. Towards the right end of the
verandah and partly on the end wall is the scene in which Deva-
patta tries to get Buddha destroyed by an enraged elephant, which
however kneels at Buddha's feet (woodcut 59).2
■The ceiling of the verandah is still pretty entire, and was copied
"J the late Major Grill, his copy being at South Kensington.
Ihis cave contains more remains of painting than any other,
*ȤAa bringing offerings to the Ajanta Bhikshus ? A sketch of it is given in my
0tes on Amta Temples and Paintings, Plate XVI.
I From Mrs. Speir's L. in An. bid. p. 370.
Iom tne same, p. 290. This scene occurs also in (he Amaravati sculptures;
Fer
g»sson's Tree and Serpent Worship, 2nd ed., Plate LXXX1L, Fig. 2. For the
~2 See Bigan(let's Legend of Gaudama, 2nd ed., p. 250; conf. Vie de Hiouen
m»9, p. 153; Mem. sur /es Cont. Occid. t. ii. p. 16.