File:Ajanta Cave 17, antechamber to the shrine, Adoration of the Buddha (color illustration) with foreigners highlighted.jpg

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English: Ajanta Cave 17, antechamber to the shrine, Adoration of the Buddha (color illustration) with foreigners highlighted
  • This painting of the Adoration of the Buddha (a creative copy of a frieze in Ajanta Cave 17 [1], located on left wall of the antechamber to the sanctum, with border created by composition of various Ajanta elements) was commissioned by Thomas Holbein Hendley (1847-1917) for the decoration of the walls of the hall of the Albert Hall Museum, Jaipur, India, probably circa 1887, and he had the work painted by a local artist variously named Murli or Murali (in Jaipur Nama: Tales from the Pink City by Giles Henry Rupert Tillotson p.156), so the work is pre-1923. This work is otherwise presented as characteristic of the end of the 19th century ("artist Murali and Kishan are good examples of 19th C. painting" in Wall Paintings of Rajasthan [2] p.23).
  • The skin color and dress style of some characters had led to the hypothesis that some of these characters may be foreign and related to the embassy sent from Persia; this theory was proposed in early colonial era literature in the decades after these caves were discovered and studied (see e.g., Fergusson, 1879). However, after the review of Persian records, dating when the embassy was actually sent from Persia by Khusro II Parvez to the Hindu sovereign of early Chalukya dynasty (7th-century), and the better dating of these frescoes and caves to the 5th-century by Walter Spink, this theory has largely been rejected since the Indian painters could not have forecasted who will visit nearly 200 years in future. Further, given the diversity of skin color in South Asia, different skin tones and the diversity of the culture in South Asia, along with limited evidence of these practices in pre-5th-century Greater India, the colonial era proposal that there are many foreigners in Ajanta frescoes has been by questioned and partly rejected by scholars such as Schlingloff (1988), Zin (2003) and others. There are some characters in these frescoes that are dressed in a style found in the artwork of northwest Indian subcontinent, Kushan and Saka-ruled regions. Thus, the basic hypothesis that the painters were showing a diversity of people from far away lands is valid.
  • Sources: [1] Dieter Schlingloff, Studies in the Ajanta Paintings: Identification and Interpretations, 1988; [2] Monika Zin, Ajanta: Handbuch der Malereien, Devotionale und ornamentale Malereien, Volume 1: Interpretation, 2003.
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This file is not in the public domain. Therefore you are requested to use the following next to the image if you reuse this file: © Yann Forget / Wikimedia Commons

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