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By Ghulam Yazdani; N.P. Chakravarti

Ajanta; the color and monochrome reproductions of the Ajanta Frescoes in keeping with images, with an explanatory textual content by way of G. Yazdani, and Appendix and Inscription. through N.P. Chakravarti. released lower than the specified authority of His Exalted Highness the Nizam.

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1 7 A R R IV A L O F T H E A R A JA W IT H B O D H I-T R E E : H IS N O T R E T IN U E TO W O R S H IP ID E N T IF IE D P la tes X X IV a, X X V a- 6 , X X V I and X X V II a-6 The scene is painted on the bach wall of the left aisle, behind pillars 3 to 9 in Cave X. IK E the preceding cave this also has frescoes o f different periods on its walls, the oldest, j according to a painted inscription, being almost coeval with the excavation o f the temple, which, according to another inscription carved on the right side of the outer arch, may be fixed in the early part o f the second century b .

PSri-Satakarni1). Such a visit to G aya, the place of the Buddha’s enlightenment, or to Sanchi, where, according to a contemporary inscription, the southern gateway was built by the sculptors o f Sri-Satakarni, cannot be regarded as improb­ able. A close study o f the fresco further reveals that the raja near the right end o f the paint­ ing has in front o f him , on the head o f the elephant on which he is riding, a vase with a leaf or a branch o f a tree rising from it. W ill it be too much to fancy that the raja is carrying a branch o f the Bodhi-tree with a view to planting it at his own capital?

Above the figure of the Buddha is the royal * T h e pillar on which this figure o f the Buddha » painted is sixth in the right row from the entrance of the cave. d . See Appendix, pp. 86 ff. * This may suggest the bh&tparia attitude. P L A TES X X X V - X X X V I I , XX X I X umbrella adorned with flags, and below it two cherubs who are bringing garlands from the celestial world to offer them to the Buddha.

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