Ajanta: Handbuch der Malereien.

• Author: Chandra, Pramod

Ajanta: Handbuch der Malereien, 2: Devotionale und ornamentale Malereien, vol. 1: Interpretation; vol. 2: Plates By MONIKA ZIN. Wiesbaden: HARRASOWITZ VERLAG, 2003. Pp. 544; 38 plates.

The volume under consideration is in the same series as the two volumes by Dieter Schlingloff that concentrated exclusively on the narrative painting at Ajanta, reviewed by me earlier in this journal (JAOS 123 [2003]: 420-23). He had chosen not to concern himself with other features of the painting there, but this has now been done by Zin, who studies the iconic images as well as ornamental and figural motifs at that site, thus bringing to a conclusion this monumental undertaking. She successfully extends the tradition of deep scholarship established by Schlingloff. Encyclopedic in scope, and very similar in structure and organization to the earlier volumes, the work is sure to become an indispensable reference book not only for Ajanta scholars, but also for all those pursuing studies of Indian iconography and ornamental motifs in general.

To gain some idea of the book's range one has only to glance at the table of contents: here we find architectural motifs, elements of landscape, geometrical patterns, lotus rhizomes, floriated scroll work, the treatment of animals in their various aspects, the kirtimukha motif, amorous couples, nagas, garudas, divine flying figures notably gandharvas, apsaras, vidyadharas, dwarves of various types, udaremukhas with a face for a stomach kinnaras (half bird, half human), kiratas (forest dwellers), yaksas including Manibhadra, Purnabhadra, and Kubera, yaksinis. Hariti, vidusakas (jesters), wine drinkers (sadamattas and karotapanis), Indra and the gods of his heaven. Brahma and kindred divinities auspicious symbols such as purnakalasa and the nidhis, symbols specifically associated with the Buddha, representation of monks and laity, culminating in a fresh iconographic analysis of the Bodhisattva-King and Bodhisattvas in general, the samsaracakra, and the Buddha in his multiple aspects. This is being as comprehensive as possible.

Each one of these topics is the subject of relatively short and incisive study followed by precise and clear drawings that back up and illustrate the argument of the text. The particular motif or image is...