Copy of painting in the caves of Ajanta by Robert Gill, oil on canvas, 1850-1854, India.

In the top right hand side of the painting there is a raja seated on an ornate throne in his palace with two men pouring water over him from large round lotas (pots). To the left of this, within another division of the palace, a man brings in a large lota (pot) on his shoulder. Alongside this man is another leaning on a stick looking towards the raja and beside him is a woman carrying a tray. In front of this group is a little boy who has climbed up the steps carrying a plate which is being handed to a young woman.

Outside this second apartment are four men stretching out their hands for alms.

In the bottom right hand corner is a another palace interior. Inside a man and a woman appear to be presenting a salver with four heads on it to a royal figure? Three other people look on. To the left of this is a portion of a scene which shows a palace roof and trees. In the left hand corner there is the outline of a doorway into the monk’s cell.

In the top left hand corner is another palace building in which sits a Buddha figure with an alms bowl in his lap. Beside him are four women making offerings.

The right hand edge of this painting joins to the left hand edge of IS.52-1885 but is not linked through narrative.

Commissioned by the Government of India between 1844-1863 and desposited in the India Museum, London.

Historical significance: The paintings inside the caves tell stories from the lives of the Buddha. This painting depicts the Mahosadha jataka and the Sumagadha jataka.

Narrative:
In the land of Videha, a crowning ceremony to turn a prince into a king is taking place.
Two servants pour water over the Prince’s head and his crown is being held in readiness by another servant to his left. Other servants stand in adjoining rooms with dishes and jugs, and a group of beggars wait outside for gifts to be distributed.

The king appoints a new chancellor called Mahosadha. Four ministers plot against the new chancellor and make advances to his wife. To reap her revenge, the chancellor’s wife tricks them into meeting her one evening whereby they are put into a sack and presented to the king with their four heads pocking out of the sack.


The Sumagadha Jataka

This relates to the top left hand side of the painting only.

The merchant’s daughter Sumagadha is a devotee of the Buddha. She convinces her father-in-law of the goodness of the Buddha and gains permission to invite him in to their home. The scene in the top left hand side shows a Sumagadha kneeling respectfully before the Buddhaas he is about to enter the home and other female servants stand nearby ready to offer food.


** See note in Burgess about extention of actual wall painting not copied by Gill. Pg.13

The cave paintings of Ajanta are the oldest surviving examples of painting in India. They depict scenes from the lives of the Buddha and date from the 1st century BC to about AD 480. The cave complex was discovered in 1819 and since then attempts have been made to document the paintings inside them. In 1844 Major Robert Gill was commissioned to make copies. Unfortunately most of the paintings he completed were destroyed in a fire in 1866. To make up for this loss, from 1872, John Griffiths from the Bombay school of Art and seven Indian students spent every winter for the following 13 years at the caves producing approximately 300 paintings, of which this is one.

The cave paintings of Ajanta are the oldest surviving examples of painting in India. They depict stories from the lives of the Buddha (the jatakas) and date from the 1st century BC to about AD 480. The cave complex was discovered in 1819 and since then attempts have been made to document the paintings inside them. In 1844 Major Robert Gill was commissioned to make copies. Unfortunately most of the paintings he completed were destroyed in a fire in 1866. To make up for this loss, from 1872, John Griffiths from the Bombay school of Art and seven Indian students spent every winter for the following 13 years at the caves producing approximately 300 paintings, of which this is an example.

This painting can be found in cave one at Ajanta and depicts scenes from the Mahosadha jataka and the Sumagadha jataka.

IS.54-1885