Copy of painting in the caves of Ajanta by John Griffiths and students of the Bombay School of Art.

There is fire damage on the left hand side of the painting. The scene directly following the fire damage shows a man seated and dressed in a patterned outfit, very different from other costumes. He is gesturing as if he is explaining something. Above him is a woman carrying a tray with some objects on it. Behind these and to the right, a man in white robe and holding a stick is coming through a doorway.

To the right the palace setting continues, represented with an elaborately decorated roof held up by ornate pillars. Within this are several female figures but as the central section of this painting is missing it is not possible to distinguish who the key figure is. There are three female attendants to the right and two figures, one of which carries a chauri (flywisk). To the left of this is a male figure below which are the top halves of two women. Within the architectural features, the sides of the walls/gateways in the centre of the painting and to the right have a window in which is placed a lota (waterpot).

Left hand edge of this painting links to right hand edge of IS.18-1885

This part of the painting depicts a section of the Sudhana Jataka. The narrative sequence in this painting continues on IS. 18-1885 and IS.38-1885.

Commissioned by the Government of India between 1872-1885 and deposited in the India Museum, London.

Historical significance: The paintings inside the Ajanta caves tell stories from the lives of the Buddha. This painting depicts scenes from the Sudhana jataka.

Narrative:
The king of the Nagas or snake king sits with his queen surrounded by attendants. He has presented a precious robe to a hunter in gratitude for the rescue of his son. The hunter, dressed in this gift, seen here on the right hand side with an elaborate blue and white striped costume, asks the king for an additional gift of a magical noose which will help him capture a fairy princess. (IS.38-1885)

The hunters captures the princess, and gives her to a prince called Sudhana. They live happily together until a problem at court makes her flee the palace. After a long adventurous journey, he comes to find her.

When she is bathing on her balcony, having water poured over her by other maidens she catches sight of a signet ring in one of the maid’s water jugs. She recognises this as belonging to Prince Sudhana and realises that he must have thrown it in there and that he has come to find her. (IS.18-1885)

Inside the palace, the princess hides Sudhana away from the king. Sitting with her attendants she gestures with her hand and reveals to a friend her love for Sudhana who is shown here standing in the doorway holding a walking-staff and with the same hand gesture. (IS.12-1885)

Inside the royal palace the princess tells her father, the king of her love for Sudhana and obtains his consent for their marriage.

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.

Painted by John Griffiths and students from the Bombay School of Art

This is a copy of a painting in cave 1 at Ajanta. These cave paintings date from the 1st century BC to about AD 480 and are the oldest surviving examples of painting in India. They depict stories from the lives of the Buddha (the Jatakas). This one shows a scene from the Sudhana Jataka. Here the princess, who is sitting with her attendants, reveals her love for Sudhana who is shown in the doorway holding a walking-staff.

The cave complex was discovered in 1819 and attempts were 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 to 1885 John Griffiths from the Bombay School of Art and seven Indian students spent every winter at the caves. This is one of the approximately 300 paintings they produced.

IS.12-1885