{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O119004"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O119004/"}},"images":null,"see_also":null},"record":{"systemNumber":"O119004","accessionNumber":"IS.136-1885","objectType":"Oil painting","titles":[{"title":"Copy of painting inside the cave of Ajanta (cave 17)","type":"series title"},{"title":"Copy of painting from the caves of Ajanta","type":"generic title"}],"summaryDescription":"This is a copy of a painting in cave 17 at Ajanta. The cave paintings there are the oldest surviving examples of painting in India. They date from the 1st century BC to about AD 480 and depict stories from the lives of the Buddha (the Jatakas). \r\n\r\nThis painting depicts a ‘samsarachakra’ (‘wheel of existences’). Within the segments of the wheels are scenes which give the six possible forms of existence. Beginning with the segment on the left-hand side we have animals, ‘asuras’ (demi-gods), gods, and humans. The two missing from this painting are ghosts and creatures of hell.\r\n\r\nThe 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.","physicalDescription":"This painting depicts a Samsaracakra (Wheel of Existences). Within the segments of the wheels are scenes which give the six possible forms of existence. Starting with the segment on the left hand side:\r\n\r\n1. The existence of animals. This shows cows in a rural setting.\r\n2. The existence of Asuras (demi-gods). Here they are seen making preparations for war against the gods, also shows scenes of alcohol being distributed. \r\n3. The existence of Gods. Here we see Indra and his court in the realms of heaven in which there are dancers and musicians and amorous couples.\r\n4. The existence of Humans. Scenes of daily activity\r\nThe rest of the wheel is  not visible.\r\n\r\nThere is an outer ring to the wheel, this contains images which represent the chain of inter-dependence:\r\n\r\n1. The potter in the top centre of the ring would be the second link of the chain and represents the concept of ‘formation’. \r\n2. The following image of a monkey represents consciousness. \r\n3. The figure on the extreme left of the wheel is lamenting death. \r\n4. The two figures after that show a man extracting an arrow from the others chest, this represents suffering. \r\n5. The single figure  preceding the camel represents a man in distress. \r\n6. The camel being led by a traveller through the desert represents the strain if life. \r\n \r\n Clinging to the top of the wheel is a green demon, only his arms are visible here.\r\n\r\nOn the far left hand side of the painting is a giant snake which has surrounded with its huge body a group of people. This is part of the Simha Jataka.","artistMakerPerson":[{"name":{"text":"Griffiths, John","id":"A17714"},"association":{"text":"artist","id":"AAT25103"},"note":""}],"artistMakerOrganisations":[{"name":{"text":"Bombay School of Art","id":"A2830"},"association":{"text":"artist","id":"AAT25103"},"note":""}],"artistMakerPeople":[],"materials":[{"text":"oil colour","id":"AAT15050"},{"text":"canvas","id":"AAT14078"}],"techniques":[{"text":"oil painting","id":"AAT178684"}],"materialsAndTechniques":"Oil on canvas","categories":[{"text":"Buddhism","id":"THES48984"},{"text":"Paintings","id":"THES48917"}],"styles":[],"collectionCode":{"text":"SSEA","id":"THES48598"},"images":[],"imageResolution":"high","galleryLocations":[{"current":{"text":"001","id":"THES340784"},"free":"","case":"","shelf":"","box":""}],"partTypes":[[{"text":"oil painting","id":""}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"Ajanta","id":"x39072"},"association":{"text":"made","id":"x28654"},"note":""}],"productionDates":[{"date":{"text":"1881-1883","earliest":"1881-01-01","latest":"1883-12-31"},"association":{"text":"made","id":"x28654"},"note":""}],"associatedObjects":[],"creditLine":"","dimensions":[{"dimension":"Height","value":"1500","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"painting","note":""},{"dimension":"Width","value":"4085","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"painting","note":""},{"dimension":"Depth","value":"30","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"painting","note":""},{"dimension":"Height","value":"1525","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"with frame","note":""},{"dimension":"Width","value":"4114","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"with frame","note":""},{"dimension":"Depth","value":"40","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"with frame","note":""}],"dimensionsNote":"","marksAndInscriptions":[{"content":"'Ajanta, cave 17, Verandah A / 5'-1\" x 13'-7\"'","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"","method":"","position":"","script":"","translation":"","transliteration":"","type":"","note":"On back of canvas"},{"content":"'8' in red chalk","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"","method":"","position":"","script":"","translation":"","transliteration":"","type":"","note":"on back of canvas"}],"objectHistory":"Historical significance: This painting depicts a Samsaracakra (Wheel of Existences). Within the segments of the wheels are scenes which give the six possible forms of existence. Starting with the segment on the left hand side:\r\n\r\n1. The existence of animals. This shows cows in a rural setting.\r\n2. The existence of Asuras (demi-gods). Here they are seen making preparations for war against the gods, also shows scenes of alcohol being distributed. \r\n3. The existence of Gods. Here we see Indra and his court in the realms of heaven in which there are dancers and musicians and amorous couples.\r\n4. The existence of Humans. Scenes of daily activity\r\nThe rest of the wheel is  not visible.\r\n\r\nThere is an outer ring to the wheel, this contains images which represent the chain of inter-dependence:\r\n\r\n1. The potter in the top centre of the ring would be the second link of the chain and represents the concept of ‘formation’. \r\n2. The following image of a monkey represents consciousness. \r\n3. The figure on the extreme left of the wheel is lamenting death. \r\n4. The two figures after that show a man extracting an arrow from the others chest, this represents suffering. \r\n5. The single figure  preceding the camel represents a man in distress. \r\n6. The camel being led by a traveller through the desert represents the strain if life. \r\n \r\n Clinging to the top of the wheel is a green demon, only his arms are visible here.\r\n\r\nOn the far left hand side of the painting is a giant snake which has surrounded with its huge body a group of people. This is part of the Simha Jataka in which a giant snake ensnares a caravan of people and horses. A lion (Simha) kills the snake but then he himself is killed by the snake’s poisonous breath. The caravan is thus saved by the self-sacrifice of the lion and can continue its journey. This scene is depicted just outside the wheel on the left hand side. The people represent travellers in the wilderness exposed to many dangers.\r\n\r\nRef: Monika Zin and Dieter Schlingloff","historicalContext":"The cave paintings of Ajanta are the oldest surviving examples of painting in India. They depict stories from the lives of the Buddha (the jatakas) 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 an example.","briefDescription":"Copy of painting in the caves of Ajanta by John Griffiths and students of the Bombay School of Art.","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"Griffiths, J, The paintings in the Buddhist cave temples of Ajanta, India, 1896"},{"reference":{"text":"","id":""},"details":"","free":"Burgess, J, Notes on the Bauddha Rock-Temples of Ajanta, Bombay, 1879"},{"reference":{"text":"","id":""},"details":"","free":"Zin, M, Guide to the Ajanta Paintings, Vol.2, New Delhi, 2003."}],"production":"Painted by John Griffiths and students from the Bombay School of Art","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[{"text":"India","id":"x29790"}],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[{"text":"Buddhism","id":"AAT73738"}],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["IS.136-1885"],"accessionNumberNum":"136","accessionNumberPrefix":"IS","accessionYear":1885,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2026-03-10","recordCreationDate":"2005-11-24","availableToBook":true}}