Ajanta Paintings. 2nd edition (Baroda: Hari Sena Press, 2019).

| iii AJANTA PAINTINGS A JA N TA M A H Ā PI ṬA K A 6 -1. ———————————————————— Antarpiṭaka 6. Concise Buddhist Legends. ———— Pratyantara Piṭaka 1. Ajanta Paintings: A Compilation of 84 Abridged Narratives. iv | AJANTA PAINTINGS Cover illustration: Ajanta Cave 17, narrative no. 58, Siṃhala Avadāna, scene 27. Siṃhala leaves with an army through the city gate to avenge an attack by the rākṣasis (demonesses) of an island. Singh, Rajesh Kumar, 2019Ajanta Paintings: A Compilation of 84 Abridged Narratives, = Ajanta Mahāpiṭaka 6-1 / By Rajesh Kumar Singh. 2nd ed. ISBN 978-81-925107-6-7. Hard cover. First edition: Ajantā Paintings: 86 Panels of Jātakas and Other Themes (Baroda: Hari Sena Press, 2013). Paperback ISBN 978-81-9251073-6, mobi ISBN 978-81-925107-4-3, epub ISBN 978-81-925107-5-0. 1. Buddhist art—India—Deccan. 2. Buddhist studies—India— Deccan. 3. Buddhist art—India—Ajanta caves. 4. Art history—India— Ajanta caves. 5. Ajanta caves (India) 6. Ajanta paintings (India). ISBN 978-81-925107-6-7. Copyright collective work (except where indicated otherwise) © Rajesh Kumar Singh 2019. Photographs © Rajesh Kumar Singh 2013, courtesy of Archaeological Survey of India, unless specified otherwise. Second edition of Rajesh K. Singh, Ajantā Paintings: 86 Panels of Jātakas and Other Themes (Baroda: Hari Sena Press Private Limited, 2013). Paperback ISBN 978-81-925107-3-6, mobi ISBN 978-81-925107-4-3, epub ISBN 978-81-925107-5-0. Published by Hari Sena Press Private Limited, Baroda, India. Email: harisenapress@gmail.com. Production and distribution by Abhikalp, Baroda, India. Email: info@ abhikalp.net. The re-telling of the Buddhist legends are adapted from the following publications, courtesy of Prof. Dr. Dieter Schlingloff and Prof. Dr. Monika Zin: Schlingloff, D. Ajanta: Handbook of the Paintings 1, I-III (New Delhi: IGNCA, 2013), vol. I. Zin, M. A Guide to the Ajanta Paintings 2: Devotional and Ornamental Paintings (Delhi: Munshiram Manoharlal, 2003). All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, stored in a retrieval system, electronic, mechanical, photocopying, recording, or otherwise without prior written permission from the publisher or the author. Frontispiece: a panorama of the Ajanta caves. AJANTA PAINTINGS |v AJANTA PAINTINGS vi | AJANTA PAINTINGS | vii AJANTA PAINTINGS AJANTA PAINTINGS A compilation of 84 abridged narratives Rajesh KumaR singh Hari Sena Press & Ajanta Research Centre Vadodara 2018 AJANTA PAINTINGS Preface to the second edition I should like to clarify at the outset that this book does not include my individual research. Being an art historian I have not yet studied the Buddhist scriptures. This is of course my shortcoming. The logic of why this book was compiled remains in the fact that it is going for the new, slightly revised, edition. The book has been liked by the Indian students and general readers. It is for them that the book was conceived. This book is like a primer, an elementary text book, on the subject of the Ajanta paintings, which were executed in two periods: 2nd–1st century BCE and late 5th century CE. Scholars know well that the subjects of the Ajanta paintings have not been easy to identify. Different identifications were proposed in the last two centuries of the Ajanta scholarship. There is an older school of thought that linked the Ajanta narratives either to the jātakas as found in the Pali canon or to the avadānas as found in the Mahāyāna texts. Although the links with the scriptures of the Mūlasarvāstivāda school—which was not a sect and whose character, philosophy, vinaya, and religious practices have still not been fully defined—were certainly traced, it took a long time for such attempts to be recognised fully within the frontier research, and it is only scarsely recognised in other reference works of the art history of South Asia. Educators teaching the subject in the classrooms go back to some of the older and popular works stacked in the Indian libraries, which suffer with the condition of not being able to acquire as many recent works as needed. In the recent decades, Dieter Schlingloff (2013, 1999, 1987) and Monika Zin (2003a, 2003b) published their most comprehensive works. They published line drawings and offered new identifications and analyses subjoined with copious critical apparatuses. We learn that almost 52% of the (nearly 45 of about 86) Ajanta narratives have the nearest textual versions in the Mūlasarvāstivāda scriptures. The rest are from other sources, some even from the non-canonical Sanskrit literature of the times. On one hand, the Mūlasarvāstivāda scriptures were written in Sanskrit, on the other hand, the late 5th-century epigraphs of Ajanta are also in Sanskrit without exception. In view of some of these basic facts—and a volume of other complicated details—our understanding of the Buddhism of Ajanta is set for a major overhaul. It is no longer possible to apply binary labels to anything that is there in Ajanta, be it | ix x| AJANTA PAINTINGS the Hīnayāna/Mahāyāna model, the caityagṛha/vihāra model, the Sātavāhana/Vākāṭaka model, or the completed/incomplete caves model. The confusion must linger, for there are various problems to reconcile. The scholars of Buddhist studies must negotiate with art historians, epigraphists, scholars of numismatics, and vice versa. But the gravest problem is that the majority of the original texts of the Mūlasarvāstivādins, which were in Sanskrit, have not come down to us. The Indian researcher is indebted to the larger Buddhist world, for these texts of the Mūlasarvāstivādins have been substantially preserved in the ancient translations in the Chinese, Khotanese, Mongolian, Tocharian B, and Tibetan. However, the tragedy for the modern Indian scholar is that most of these ancient translations are not found in the modern Indian languages. There are some critical editions and translations in English, German, and French. Amid the above situations, Schilingloff’s Ajanta: Handbook of the Paintings 1 (2013), which was originally in German, offers much help to the Indian reader. Inspired by the same work, it was always my wish to aggregate all the Ajanta narratives at one place, and illustrate them with at least one colour photograph from my collection. The challenge was that it should be a small booklet for the beginner. The plan required that the narratives must be retold in a highly abridged format to accommodate all the narratives and a photograph for each extant painting. The idea was discussed with Prof. Schlingloff and Prof. Zin in 2011 and 2012. They agreed to help, and granted me permission to use their research for the abridgement of the stories. I prepared the drafts assisted by two of my former students: Sandeep Joshi and Snehal Tambulwadikar. The same was seen by Prof. Schlingloff (in 2012). He commented that there was a scope for improvements. However, neither he nor I had the time to devote for the perfection. Actually, the act of abridging or retelling any story involves modifications. Quite frankly, it has been beyond me to ensure absolute accuracy and faithfulness to the source material. Therefore, I stake no claim to accuracy and authenticity here. I only offer a broad contour of what the stories contain. The curious reader may consult the readings provided at the end of this booklet for further insight; and forgive the present author for any inadvertent distortion. | xi AJANTA PAINTINGS Ajanta has 94 painted depictions of 84 narratives (or versions thereof). This booklet presents the short summaries of the 84 narratives. I have been able to produce photographs of only 70 narratives. The reason why the rest could not be included is because either the painting is so badly damaged, or it survives in an extremely fragmentary state, or it has not been possible or feasible for me to do the photography work. The short summaries of the legends were first included in my work, An Introduction to the Ajantā Caves (2012) that also included my study of the sequence of the excavations of four select caves of Ajanta. That is a larger work and has some technical details on the chronology of the caves. The price was also higher. It was not affordable to many students. Therefore, I compiled a separate booklet Ajantā Paintings: 86 Panels of Jātakas and Other Themes (2013) meant exclusively for the students. The present is the second edition of the same booklet with a slightly modified subtitle. I have excluded the introduction to the Sātavāhanas and Vākāṭakas from this edition and focused on the paintings alone. The syntax, flow, and lucidity have been slightly improved. The layout, typefaces, and photographs have also been improved. I have added the keywords and identification numbers assigned to the themes by Schlingloff and Zin. The sequence of the stories in this booklet is based on how today’s visitor enters the caves and views the paintings in the clockwise fashion beginning from Cave 1 to Cave 17. Indices to the narratives have been provided both numerically and alphabetically. These are placed at the end of the booklet. Owing to certain inadequacies the following narrative paintings could not be included: No. 6. Cave 10. Śyāma. No. 7. Cave 10. Ṣaḍdanta. No. 8. Cave 10. Bhagavān. No. 9. Cave 10. Udayana. No. 66. Cave 7. Bhagavān. No. 81. Cave 6. Māravijaya. No. 87. Cave 21. Devāvatāra. No. 90. Cave 6. Mahāprātihārya. Besides, the majority of the non-narrative paintings have not been included. —RKS, Dharma Day/Āṣāḍha Pūrṇimā, 2019. | xiii AJANTA PAINTINGS Contents Preface to the second edition. Acknowledgements. ix xi I . C AV E NO. 1 NARRATIVE NOS. AND KEY CHARACTERS. No. 50. No. 44. No. 46. No. 75. No. 40. No. 59. No. 45. No. 41. No. 74. No. 38. No. 80. No. 88. No. 60. No. 76. No. 53. Maitrībala. Mahāsudarśana. Śibi-Kapota. Udrāyaṇa. Sudhana. Śaṅkhapāla. Janaka. Kalyāṇakārin. Unidentified. Mahoṣadha. Māravijaya. Mahāprātihārya. Campaka. Nāgakumāra. Prabhāsa. A NON-NARRATIVE THEME. No. 42. Bodhisattva kings in mountains (hall). 19 19 19 20 21 22 23 24 26 27 29 31 33 34 35 36 38 38 I I . C AV E NO. 2 NARRATIVE NOS. AND KEY CHARACTERS. No. 61. No. 54. No. 34. No. 51. No. 47. No. 13. No. 65. No. 89. No. 16. No. 37. No. 79. Bhūridatta. Prabhāsa. Kṣāntivādin. Maitrībala. Śibi-Kapota. Haṃsa. Bhagavatprasūti. Mahāprātihārya. Rúru. Vidhura. Pūrṇa. 43 43 43 43 45 45 45 48 51 53 53 59 xiv | AJANTA PAINTINGS SOME NON-NARRATIVE THEMES No. 42.2. No. 48. No. 29. No. 29.1. No. 29.2. No. 25. No. 25.1. No. 25.2. No. 42.6. Bodhisattva kings in mountains (porch). ‘One thousand Buddhas.’ Māṇibhadra-Pūrṇabhadra Yakṣa Temple. Painted Yakṣa Temple (left). Painted Yakṣa Temple (right). Hārītī-Pañcikā Yakṣa Temple. Unidentified painting (left). Unidentified painting (right). Bodhisattva king in a mountain (hall). 61 61 63 65 67 68 69 70 71 73 I I I . C AV E NO. 9 NARRATIVE NOS. AND KEY CHARACTERS. No. 1. No. 2. No. 3. No. 4. No. 5. No. 67. No. 10. Paṇḍara. Mahāgovinda. Śaśa. Kuṇāla. Udaya. (No photo.) Kāśyapa. Elapattra. (No photo.) 77 77 77 78 79 79 80 83 I V. C AV E NO. 16 NARRATIVE NOS. AND KEY CHARACTERS. No. 84. No. 56. No. 12. No. 17. No. 21. No. 36. No. 42. No. 33. No. 62. No. 52. No. 25. No. 39. No. 30. No. 73. No. 91. No. 82. No. 64. No. 85. Devāvatāra. Sutasoma. (No photo.) Vartakāpota. (No photo.) Ruru. (No photo.) Mahiṣa. (No photo.) Vyāghrī. (No photo.) Viśvantara. (No photo.) Bisa. Kumbha. Maitrībala. Hastin. Mūkapaṅgu. Mahākapi. (No photo.) Nanda. Mahāprātihārya. Mahāsamāja. Bhagavān. Devāvatāra. (No photo.) A NON-NARRATIVE THEME. No. 30. Kubera. 86 86 88 88 88 88 88 89 90 91 92 92 93 93 95 97 97 100 103 103 103 | xv AJANTA PAINTINGS V. C AV E NO. 17 NARRATIVE NOS. AND KEY CHARACTERS. No. 24. No. 68. No. 69. No. 77. No. 71. No. 72. No. 83. No. 78. No. 49. No. 18. No. 23. No. 19. No. 28. No. 31. No. 26. No. 35. No. 48. No. 14. No. 43. No. 63. No. 29. No. 57. No. 86. No. 70. No. 92. No. 20. No. 15. No. 27. No. 11. No. 32. No. 22. No. 55. No. 58. Siṃha. Śuddhodana. Udāyin. Dhanapāla. Rāhula. (No photo.) Sumati. (No photo.) Mahāsamāja. Indrabrāhmaṇa. Śibi. Rúru. Ṛkṣa. Mṛga. Ṣaḍdanta. Mahākapi. Hastin. Bodhi. Sarvadada. Haṃsa. Viśvantara. Indra. Vānara. Sutasoma. Devāvatāra. Rāhula. Mahāprātihārya. Śarabha. Śaśa. (No photo.) Mātṛpoṣaka. Matsya. Śyāma. Mahiṣa. Prabhāsa. (No photo.) Siṃhala. SOME NON-NARRATIVE THEMES. No. 44.4. No. 46. Bodhisattva Avalokiteśvara. Samsāracakra. References Numerical index of the paintings Alphabetical index of the paintings Other publications by the author 106 106 106 107 109 110 111 112 114 114 117 119 119 121 123 123 124 124 125 128 130 131 131 135 135 137 138 138 140 142 142 144 144 146 151 151 153 157 161 164 167 Page intentionally left blank | 161 AJANTA PAINTINGS NUMERICAL INDEX OF THE PAINTINGS Narrative nos./cave nos./keywords No. 1. No. 2. No. 3. No. 4. No. 5. No. 10. No. 11. No. 12. No. 13. No. 14. No. 15. No. 16. No. 17. No. 18. No. 19. No. 20. No. 21. No. 22. No. 23. No. 24. No. 25. No. 26. No. 27. No. 28. No. 29. No. 30. No. 31. No. 32. No. 33. No. 34. No. 35. No. 36. No. 37. No. 38. No. 39. No. 40. Cave 9. Paṇḍara. Cave 9. Mahāgovinda. Cave 9. Śaśa. Cave 9. Kuṇāla. Cave 9. Udaya. (No photo.) Cave 9. Elapattra. (No photo.) Cave 17. Matsya. Cave 16. Vartakāpota. (No photo.) Cave 2. Haṃsa. Cave 17. Haṃsa. Cave 17. Śaśa. (No photo.) Cave 2. Rúru. Cave 16. Ruru. (No photo.) Cave 17. Rúru. Cave 17. Mṛga. Cave 17. Śarabha. Cave 16. Mahiṣa. (No photo.) Cave 17. Mahiṣa. Cave 17. Ṛkṣa. Cave 17. Siṃha. Cave 16. Hastin. Cave 17. Hastin. Cave 17. Mātṛpoṣaka. Cave 17. Ṣaḍdanta. Cave 17. Vānara. Cave 16. Mahākapi. (No photo.) Cave 17. Mahākapi. Cave 17. Śyāma. Cave 16. Bisa. Cave 2. Kṣāntivādin. Cave 17. Bodhi. Cave 16. Vyāghrī. (No photo.) Cave 2. Vidhura. Cave 1. Mahoṣadha. Cave 16. Mūkapaṅgu. Cave 1. Sudhana. page no. 77 77 78 79 79 83 142 88 45 125 138 53 88 117 119 138 88 144 119 106 92 123 140 121 131 93 123 142 90 43 124 88 53 29 93 22 162 | AJANTA PAINTINGS No. 41. No. 42. No. 43. No. 44. No. 45. No. 46. No. 47. No. 48. No. 49. No. 50. No. 51. No. 52. No. 53. No. 54. No. 55. No. 56. No. 57. No. 58. No. 59. No. 60. No. 61. No. 62. No. 63. No. 64. No. 65. No. 67. No. 68. No. 69. No. 70. No. 71. No. 72. No. 73. No. 74. No. 75. No. 76. No. 77. No. 78. No. 79. No. 80. No. 82. No. 83. No. 84. Cave 1. Kalyāṇakārin. Cave 16. Viśvantara. (No photo.) Cave 17. Viśvantara. Cave 1. Mahāsudarśana. Cave 1. Janaka. Cave 1. Śibi-Kapota. Cave 2. Śibi-Kapota. Cave 17. Sarvadada. Cave 17. Śibi. Cave 1. Maitrībala. Cave 2. Maitrībala. Cave 16. Maitrībala. Cave 1. Prabhāsa. Cave 2. Prabhāsa. Cave 17. Prabhāsa. (No photo.) Cave 16. Sutasoma. (No photo.) Cave 17. Sutasoma. Cave 17. Siṃhala. Cave 1. Śaṅkhapāla. Cave 1. Campaka. Cave 2. Bhūridatta. Cave 16. Kumbha. Cave 17. Indra. Cave 16. Bhagavān. Cave 2. Bhagavatprasūti. Cave 9. Kāśyapa. Cave 17. Śuddhodana. Cave 17. Udāyin. Cave 17. Rāhula. Cave 17. Rāhula. (No photo.) Cave 17. Sumati. (No photo.) Cave 16. Nanda. Cave 1. Unidentified. Cave 1. Udrāyaṇa. Cave 1. Nāgakumāra. Cave 17. Dhanapāla. Cave 17. Indrabrāhmaṇa. Cave 2. Pūrṇa. Cave 1. Māravijaya. Cave 16. Mahāsamāja. Cave 17. Mahāsamāja. Cave 16. Devāvatāra. 26 89 128 19 24 20 45 124 114 19 45 92 36 43 144 88 131 146 23 34 43 91 130 100 48 80 106 107 135 110 111 95 27 21 35 109 114 59 31 97 112 86 | 163 AJANTA PAINTINGS No. 85. No. 86. No. 88. No. 89. No. 91. No. 92. Cave 16. Devāvatāra. (No photo.) Cave 17. Devāvatāra. Cave 1. Mahāprātihārya. Cave 2. Mahāprātihārya. Cave 16. Mahāprātihārya. Cave 17. Mahāprātihārya. 103 135 33 51 97 137 Non-narrative nos./cave nos./keywords/ page no. Nos. 42. No. 42.2. No. 48. No. 29. No. 29.1. No. 29.2. No. 25. No. 25.1. No. 25.2. Nos. 42.6. No. 30. No. 44.4. No. 46. Cave 1. Cave 2. Cave 2. Cave 2. Cave 2. Cave 2. Cave 2. Cave 2. Cave 2. Cave 2. Cave 16. Cave 17. Cave 17. Bodhisattva kings in mountains (hall). 38 Bodhisattva kings in mountains (porch). 61 ‘One thousand Buddhas.’ 63 Māṇibhadra-Pūrṇabhadra Yakṣa Temple. 65 Painted Yakṣa Temple (left). 67 Painted Yakṣa Temple (right). 68 Hārītī-Pañcikā Yakṣa Temple. 69 Unidentified painting (left). 70 Unidentified painting (right). 71 Bodhisattva king in mountain (hall). 73 Kubera. 103 Bodhisattva Avalokiteśvara. 151 Samsāracakra. 153 Note Due to certain inadequacies the following narrative paintings could not be included in this book: No. 6. No. 7. No. 8. No. 9. No. 66. No. 81. No. 87. No. 90. Cave 10. Śyāma. Cave 10. Ṣaḍdanta. Cave 10. Bhagavān. Cave 10. Udayana. Cave 7. Bhagavān. Cave 6. Māravijaya. Cave 21. Devāvatāra. Cave 6. Mahāprātihārya. Due to the vastness of the material, more than 90% of the nonnarrative themes have not be included in this book. 164 | AJANTA PAINTINGS ALPHABETICAL INDEX OF THE PAINTINGS Narrative nos./cave nos./keywords No. 64. No. 65. No. 61. No. 33. No. 35. No. 60. No. 84. No. 85. No. 86. No. 77. No. 10. No. 14. No. 13. No. 25. No. 26. No. 63. No. 78. No. 45. No. 41. No. 67. No. 34. No. 62. No. 4. No. 2. No. 30. No. 31. No. 88. No. 89. No. 91. No. 92. No. 82. No. 83. No. 44. No. 21. No. 22. No. 38. Cave 16. Bhagavān. Cave 2. Bhagavatprasūti. Cave 2. Bhūridatta. Cave 16. Bisa. Cave 17. Bodhi. Cave 1. Campaka. Cave 16. Devāvatāra. Cave 16. Devāvatāra. (No photo.) Cave 17. Devāvatāra. Cave 17. Dhanapāla. Cave 9. Elapattra. (No photo.) Cave 17. Haṃsa. Cave 2. Haṃsa. Cave 16. Hastin. Cave 17. Hastin. Cave 17. Indra. Cave 17. Indrabrāhmaṇa. Cave 1. Janaka. Cave 1. Kalyāṇakārin. Cave 9. Kāśyapa. Cave 2. Kṣāntivādin. Cave 16. Kumbha. Cave 9. Kuṇāla. Cave 9. Mahāgovinda. Cave 16. Mahākapi. (No photo.) Cave 17. Mahākapi. Cave 1. Mahāprātihārya. Cave 2. Mahāprātihārya. Cave 16. Mahāprātihārya. Cave 17. Mahāprātihārya. Cave 16. Mahāsamāja. Cave 17. Mahāsamāja. Cave 1. Mahāsudarśana. Cave 16. Mahiṣa. (No photo.) Cave 17. Mahiṣa. Cave 1. Mahoṣadha. page no. 100 48 43 90 124 34 86 103 135 109 83 125 45 92 123 130 114 24 26 80 43 91 79 77 93 123 33 51 97 137 97 112 19 88 144 29 | 165 AJANTA PAINTINGS No. 50. No. 51. No. 52. No. 80. No. 27. No. 11. No. 19. No. 39. No. 76. No. 73. No. 1. No. 53. No. 54. No. 55. No. 79. No. 70. No. 71. No. 23. No. 16. No. 17. No. 18. No. 28. No. 59. No. 20. No. 48. No. 3. No. 15. No. 49. No. 46. No. 47. No. 24. No. 58. No. 68. No. 40. No. 72. No. 56. No. 57. No. 32. No. 5. No. 69. No. 75. No. 74. Cave 1. Maitrībala. Cave 2. Maitrībala. Cave 16. Maitrībala. Cave 1. Māravijaya. Cave 17. Mātṛpoṣaka. Cave 17. Matsya. Cave 17. Mṛga. Cave 16. Mūkapaṅgu. Cave 1. Nāgakumāra. Cave 16. Nanda. Cave 9. Paṇḍara. Cave 1. Prabhāsa. Cave 2. Prabhāsa. Cave 17. Prabhāsa. (No photo.) Cave 2. Pūrṇa. Cave 17. Rāhula. Cave 17. Rāhula. (No photo.) Cave 17. Ṛkṣa. Cave 2. Rúru. Cave 16. Ruru. (No photo.) Cave 17. Rúru. Cave 17. Ṣaḍdanta. Cave 1. Śaṅkhapāla. Cave 17. Śarabha. Cave 17. Sarvadada. Cave 9. Śaśa. Cave 17. Śaśa. (No photo.) Cave 17. Śibi. Cave 1. Śibi-Kapota. Cave 2. Śibi-Kapota. Cave 17. Siṃha. Cave 17. Siṃhala. Cave 17. Śuddhodana. Cave 1. Sudhana. Cave 17. Sumati. (No photo.) Cave 16. Sutasoma. (No photo.) Cave 17. Sutasoma. Cave 17. Śyāma. Cave 9. Udaya. (No photo.) Cave 17. Udāyin. Cave 1. Udrāyaṇa. Cave 1. Unidentified. 19 45 92 31 140 142 119 93 35 95 77 36 43 144 59 135 110 119 53 88 117 121 23 138 124 78 138 114 20 45 106 146 106 22 111 88 131 142 79 107 21 27 166 | AJANTA PAINTINGS No. 29. No. 12. No. 37. No. 42. No. 43. No. 36. Cave 17. Vānara. Cave 16. Vartakāpota. (No photo.) Cave 2. Vidhura. Cave 16. Viśvantara. (No photo.) Cave 17. Viśvantara. Cave 16. Vyāghrī. (No photo.) 131 88 53 89 128 88 Non-narrative nos./cave nos./keywords/page no. No. 44.4. Nos. 42. No. 42.2. Nos. 42.6. Nos. 25. No. 30. No. 29. No. 48. No. 29.1. No. 29.2. No. 46. No. 25.1. No. 25.2. Cave 17. Cave 1. Cave 2. Cave 2. Cave 2. Cave 16. Cave 2. Cave 2. Cave 2. Cave 2. Cave 17. Cave 2. Cave 2. Bodhisattva Avalokiteśvara. 151 Bodhisattva kings in mountains (hall). 38 Bodhisattva kings in mountains (porch). 61 Bodhisattva king in mountain (hall). 73 Hārītī-Pañcikā Yakṣa Temple. 69 Kubera. 103 Māṇibhadra-Pūrṇabhadra Yakṣa Temple. 65 ‘One thousand Buddhas.’ 63 Painted Yakṣa Temple (left). 67 Painted Yakṣa Temple (right). 68 Samsāracakra. 153 Unidentified painting (left). 70 Unidentified painting (right). 71 AJANTA PAINTINGS OTHER PUBLICATIONS BY THE AUTHOR Monographs 2017. Ajanta Cave No. 1: Documented According to the Ajanta Corpus of Dieter Schlingloff, =Photographic Compendium of Ajanta Narrative Paintings, vol. 1 (Baroda: Harisena Press). 218 pp. 2013. Ajanta Paintings: 86 Panels of Jatakas and Other Narrative Themes (Baroda: Hari Sena Press). 160 pp. 2012. An Introduction to the Ajanta Caves: With Examples of Six Caves (Baroda: Hari Sena Press). 260 pp. Articles In press. ‘The Ajiṇṭhā Caves, Part III: astronomy of the age.’ In: Prof. Ratan Parimoo Felicitation Volume, ed. by Gauri Parimoo Krishnan and Raghavendra Kulkarni. 2019. ‘Devil in the Details: Spink’s Imaginations 1. Did the Aśmakas Really Destroy the Front Cells of Ajanta Cave 19?,’ Berliner Indologische Studien 24, 257–264. 2018. ‘Rock-cut architecture of western India 1. Momentum I: origins of leṇa-cetiyaghara, ca. 120–300 CE,’ History Today, Journal of the Indian History & Culture Society 19, 216–231. 2016. ‘Ajanta: An Overview.’ In: Sahapedia.org, an Encyclopaedia of the Indian Arts, Culture, and Heritage. http://sahapedia.org/ ajanta-caves . Accessed on 2 May 2017. 2016. ‘The Ajiṇṭhā Caves, Part I: Aspects of Historical and Political Background.’ In: Sahapedia.org, an Encyclopaedia of Indian Arts, Culture, and Heritage (New Delhi: Sahapedia. org). Accessed on 1 May 2017. http://www.sahapedia.org/ aji%E1%B9%87%E1%B9%ADh%C4%81-cavespart-i . 2016. ‘The Ajiṇṭhā Caves, Part II: Aspects of Anthropological and Sociological Background.’ In: Sahapedia.org, an Encyclopaedia of Indian Arts, Culture, and Heritage (New Delhi: Sahapedia. org). Accessed on 1 May 2017. http://www.sahapedia.org/ aji%E1%B9%87%E1%B9%ADh%C4%81-cavespart-ii . With Singh, M. 2014. ‘Ajanta.’ In: Encyclopaedia of the History of | 167 168 | AJANTA PAINTINGS Science, Technology, and Medicine in Non-Western Cultures, 3rd ed. Ed. Helaine Selin. (Verlag Berlin Heidelberg: Springer). 2012a. ‘The Early Development of the Cave 26-Complex at Ajanta,’ South Asian Studies 28.1 (London: BASAS and Routledge), 37–68. 2012b. ‘Buddhabhadra’s Dedicatory Inscription at Ajanta: A Review.’ In: Pratnakirti: Recent Studies in Indian Epigraphy, History, Archaeology, and Art, Professor Shriniwas S. Ritti Felicitation volume. 2 vols. Ed. Shriniwas V. Padigar and Shivanand V. (Delhi: Agam Kala Prakashan), vol. 1, pp. 34–46. 2009. ‘Enumerating the Sailagrhas at Ajanta,’ Journal of the Asiatic Society of Mumbai 82, 122–126. 2009. ‘Ajanta Cave 8: Historiography and Fresh Look at the First Mahayana Sailagrha,’ Jnana-Pravah Research Journal (Varanasi) 12, 68-80. 2008-2009. ‘Some Problems in Fixing the Date of Ajanta Caves.’ In: Kalā, the Journal of Indian Art History Congress 14, Ed. R. D. Choudhury (Guwahati and Delhi: Indian Art History Congress and Sharada Publishing House), pp. 69–85. 2005. ‘The Writings of Stella Kramrisch: A Review of Reviews,’ Lalit Kalā [journal] 30 (New Delhi: Lalit Kala Akademi), 41–54. 2003. ‘Role of Stella Kramrisch in Indian Art History,’ East & West 53.14 (Rome: Istituto italiano per il Medio ed Estremo Oriente), 127–48. CD-Rom 2004. [Anonymous (Ed.)] Ajanta: A Digital Encyclopaedia and Virtual Walkthrough [CD-Rom]. (New Delhi: Indira Gandhi National Centre for Arts). Doctoral thesis 2014. ‘Ajanta’s Antiquity: Sources and Problems.’ PhD thesis. Faculty of Fine Arts, M. S. University of Baroda. Videos 2016. ‘Built spaces: Ajanta Caves: In conversation with Rajesh Singh.’ [Video interview] Sahapedia.org. https://www.sahapedia.org/ ajanta-caves-history-and-practices . Accessed on 6 May 2017. 2016. ‘Built spaces: Monika Zin in conversation with Rajesh Singh AJANTA PAINTINGS on Ajanta cave paintings.’ [Video interview] Sahapedia.org. https://www.sahapedia.org/ajanta-cave-paintings. Accessed on 6 May 2017. 2016. ‘Built Spaces: Dr. Rajesh Kumar Singh in Conversation with Padmashree M. K. Dhavalikar.’ [Video interview] Sahapedia. org. https://www.sahapedia.org/interview-mkdhavalikar. Accessed on 6 May 2017. 2016. ‘Built Spaces: Dr. Rajesh Kumar Singh in Conversation with Naomichi Yaguchi.’ [Video interview] Sahapedia.org. https://www.sahapedia.org/conversation-naomichi-yaguchi . Accessed on 6 May 2017. 2016. ‘Built Spaces: Ajanta and the Vakatakas: Rajesh Kumar Singh in Conversation with Hans Bakker.’ [Video interview] Sahapedia.org. https://www.sahapedia.org/interviewmkdhavalikar. Accessed on 6 May 2017. Reviews of Singh’s works Visvas, Anamika. 2015. ‘Review of An Introduction to the Ajanta Caves by Rajesh K. Singh,’ Purātattva 43 (New Delhi: Indian Archaeological Society). Bhalerao, Manjiri. 2017. ‘Review of An Introduction to the Ajanta Caves by Rajesh K. Singh,’ Journal of Asiatic Society of Mumbai 87. Raghu, G. 2013 (2 June). ‘Spinkam-Singham,’ Mathrubhumi, Weekend Supplement. [Newspaper in Malayalam] Kochi. | 169