MAHĀKAPI JĀTAKA: A piece of Narrative art on the

gateway of Sanchi.

Prachi Mali
Paper I
Sem – III
MA Archaeology

Introduction
Throughout the centuries of Indian past, the art and architecture have always been one of the ways of
expression of the people and their land. The formation and the narration of the work of art and
architecture are based on the belief, culture and nature of the land. Indian Subcontinent in area wise
comprises a huge land mass adorned with its own local culture and tradition. Variation in the culture and
tradition is reflected in the art and architecture. From the beginning of the timeline of Indian history, the
great cultures, civilizations and empires patronized great tradition and culture. Art and architecture is the
product of the same patronisation.

When we attempt to study and rewrite the past, we solely depend upon the literary sources and the
specimens found in the archaeological excavations. While the former is much sparse and unreliable, all
we can depend upon the material culture expressed in the excavation along with finding any textual or
literary support for it. The story of art can be taken back to the Mesolithic time when man learned to
express his thoughts and feelings through painting. Since then rock walls and stones have always been the
medium of expression. Stone was considered as a royal messenger during the Mauryan times when
pillars, edicts and rock cut architecture solely were seen as a medium of expression. This stone in the
following period came to the life when sculptors would carve and make enormous and explicit statues out
of it. The life size figures of yakshas and yakshinis are testimony to the art of stone. When stupas came to
patronised by the royal houses, their gateways and toranas were carved minutely to depict the life and
happening of the Buddha. The gateway and the toranas of the stupa of Bharut and Sanchi that depict
many scenes and symbol of the religion are noteworthy to express the language of art. For the first time,
scenes from the life of the Buddha and from his previous lives i.e, Jataka tales are illustrated in stone.
The magnificient toranas are decorated with many scenes that portray the contemporary life of the people.

In 1818, a British Officer, General Taylor came across the great Stupa and noted how it was still in a
good way of preservation. Though the southern gateway had fallen in situ, the rest of the structure stood
strong and the carving made upon them even after the thousands of years still seemed to be attractive and
clear. The stupa at Sanchi is said to have existed even before the rule of Ashoka. However most of the
scholars believe that was originally built by Ashok. Later balustrades and harmika added during the rule
of Shunga dynasty. The glory of the stupa is its gateway which was added under Satavahana rulers. These
elaborate and richly carved gateways stand in in four directions and are significant in the study of art.
They look similar architecturally but differ only in decorative details and carved reliefs.

Stories exist since human evolved to form the culture and civilization. They reflect past and showcase the
contemporary scenario. This oral narration or stories when put on the stone, cloth or paper form visual
narration or narrative art. One of the earliest references to the narrative art can be traced in
Mulasarvastivadin Vinaya. It mentions painted scroll used for narrating a theme. As King Ajatashatru was
adhere follower of the Buddha, and the news for his Mahaparinibbana can cause him a trauma, it was
decided to convey this new with the help of a painted scroll of four great miracles- The Birth, The
Enlightment, First Sermon and The Great Decease painted on it. This represents a technique of narrative
art in existence during the time of Buddha and continued thereafter. There are about 7 different modes
adopted by the artists of that era to depict Buddhist art stories in stone. Monoscenic narrative is common
in the early Buddhist art. With the time, sequential, continuous, synoptic, conflated and network
narratives were introduced.

The story of Mahākapi Jātaka

Once, in the Jetavana monastery there began a talk among the monks as to what good did Buddha do for
his family and relatives. It was then the story of the past flashed. Jataka are the stories of the past life of
the Buddha. So Mahakapi Jataka is the story when Boddhisatva was born as monkey and King
Bramhadatta was reigning in Benaras. The monkey grew up to be kind and generous and therefore on his
own ability he became King of 80000 monkeys. On the bank of Ganga there was use mango tree. The
mangoes yielded divine fragnance and taste and also they were quite large. One branch of the tree
covered ground and the other went above the river. Once while enjoying the fruit the bodhisattva saw
danger that the fruit will bring to the troops of monkeys. Therefore he ordered that even a single fruit
should not be left on the branch that went across the river. He would make monkeys eat all the fruits that
grew on that branch aur pluck the flowers when in the season. In spite of taking all the precautions once a
fruit grew on that branch as it was hidden beneath the leaf and covered by nest of ants. This fruit fell in
the river and was caught by the fisherman when he was drawing the net. The king was amusing in the
river was asked by the fisherman who showed him the fruit whose identity it was not known to him. The
king showed it to the forester who told him the fruit was mango. As the fruit looked too graceful, the king
had it cutted and distributed the same among his ministers and ate one slice. Its flavour impressed the
king who remembered the Desire of its taste. He asked the forester to locate the tree and after hearing that
the tree stood on the bank of Ganga he has hasten to the locate the tree. After enjoying a lot of mangoes
He set up his camp and prepared a bed for him. The Guards were guarding the surrounding area. When
the man had fallen asleep the bodhisattva came at midnight with his troops of 80000 monkeys and begins
to eat the mangoes from branch to branch. Disturbed by the noise of the monkeys the king woke up
angered, commanded to shoot all the monkeys who are eating the mangoes. The Archer surrounded the
tree and stood with the arrows ready. Upon fearing the death one of the monkey went to the bodhisattva
for the help. The bodhisattva assured them their safety and after confronting the herd, he climbed onto the
branch went along the other branch of the tree on the other side of the bank. After judging the distance,
and thinking of tying a long Vine around his waist and jump to the side of the mango tree. But he forgot
to include the length to be tied around his own waist so he could not resist the trunk of the mango tree.
With both his hands he grabbed firmly the branch and signalled the troop to escape by stepping on his
back and crossing the river safely. The monkeys respectfully e saluted the bodhisattva and cross the river
asking his pardon. Devdatta what's the last monkey in the herd. He thought this as an opportunity to kill
the king. He climbed a branch higher and made a spring felling on the body of bodhisattva. This broke
bodhisattva’s heart and caused him great pain. The king I was observing all this, thought that the noble
monkey did not care for his life and saved his herd and ensured their safety and wellbeing. He thought
that it would be wrong for him to kill such animal. He ordered his men and to bring down the bodhisattva
gently. After having him washed with water and anointed with the purest oil, he spreaded the oiled skin
on his own bed and laying the bodhisatva on it, covered him with yellow robe and intended to take care of
the monkey king addressed him with respect. He enquire how were the monkeys related to him and why
did he make a bridge for the monkeys and enable them to pass in safety.
The bodhisattva after hearing this instructed the king that he was the lord and Chief of the heard. When
they are in danger it is my responsibility to safeguard their lives. The monkeys had crossed the river and
now are safe. Therefore, i have fulfilled my responsibility of being a king and now i fear no pain of
death. Thus the king’s happiness is equivalent to the happiness of his kingdom army and city.
After preaching these noble words, the bodhisattva died peacefully.
The king gave the monkey king a royal and respected funeral.
Location and Size
The Mahakapi Jataka is depicted on the Western Gateway of Stupa no 1.

Could not find any reference related to the size of the panel.

Analysis

Explaining the elements of arts in a relief panel or sculpture is a new approach for study of Indian Art.
The above picture is the depiction of Mahakapi Jataka on the gateway of the Sanchi Stupa.

Lines
At first we will study the lines that are formed to further
depict the objects, symbols and define shape. Sharp lines
are made throughout the composition. Two of the
prominent lines are drawn by both the banks of the river.
Another important tine is drawn by the archer stretching
the bow to leave the arrow towards Boddhisatva.
Similarly the lines start from the top at the left hand side
that enable to portay the attitude on the side of the
Jungle.
Plane

There are three planes in art history, primary,

secondary and tertiary plane respectively. In the
primary plane we have group of people assembled at
the base.
In the secondary plane we can see the king sitting on
his horse and an archer beside him who has lifted his
bow and arrow waiting for the further command by
the king
In the tertiary plane at the top, the monkey king has
stretched his body over the river and made a bridge
to enable monkey cross the river safely. The side of
Himalayan forest with variety of tress is well
depicted on the right hand side. The monkey king
advising the king is also depicted in the third zone.

The sculptures have covered all the space and there is hardly any empty space depicted on the plane. A
long belt of river is the only spacious element in the panel. However it is too filled with fishes and water
waves. The background of the panel portrays a jungle area with varieties of trees, animals, a river and
mountain plains that are parallel to each other on the right hand side.

Interpretation

The Mahakapi Jataka is also depicted on the pillar of Bharat stupa.

The figure on the left is from the remains of the pillar of the Bharut Stupa. It too depicts the story of
Mahakapi Jataka. The stupa of Bharut belongs to the early date as compared to Sanchi Stupa.
 (lines formation) (3 planes)

This medallion or the patch of Bharut depicts three scenes important scenes of the Mahakapi-jataka. If the
entire panel is seen in the elements of art history, sharp lines are visible in the panel. Lines are formed by
the trees that are standing tall right from the base and cover the space from top to bottom etc as shown in
the figure. If we divide the painting as per planes, in primary plane we have Boddhisatva giving advice to
the king. In the secondary plane, two people holding sometime. And in the tertiary plane we have the
money king who is helping monkeys cross river. In terms of space we have a lot of emptiness or are
between, around, below and within the characters.
The very first scene that can be seen here is on the tertiary plane. It narrates how the Bodhisattva as king-
monkey, risked his life to enable his monkey followers to escape. The relief depicts the Bodhisattva, as
monkey-king, making a bridge with its own body to let his monkey troops escape from the king who was
trying to kill them. The second scene of the story depicts how the army personals of the king are trying
capturing the Bodhisattva by holding a piece of fabric, probably net to catch the monkey king as he will
fall from the tree and the third scene is final scene of the story which is depicted in the primary plane. It
shows the Bodhisattva and the king sitting across to each other and instructing the king that he should
protect his subjects in the same way he protected his monkey followers.

The entire composition is carved in low relief and synoptic mode of storytelling is adopted by the artist to
convey the message of Mahakapi Jataka. This art belongs to the early period of depicting stories on the
railings and pillars of the stupa. The characters lack the sharp finish as compare to Sanchi. The story says
that all the 80000 monkey were escaped. Depicting all of them is not possible but we find numbers of
monkeys in the frame. They vary in shape and size. Bodhisattva as compared to the other monkeys is
depicted big and matured in size. The branch of tree grown over the river side is very well depicted and
river is depicted as a small band in the centre of the picture and what gives it its identity is presence of
fishes and streams of water waves on it. The monkey king is depicted well above the river. Monkeys are
actively moving between the two trees and several monkeys clamber amidst the branches of the large
mango, one monkey appears to be leaping over the Bodhisattva’s back, and two lucky monkeys have
safely reached the far side. The vine used by the bodhisattva is very well depicted as compared to Sanchi.
One end of the wine is tied to the branch and the other end is tied to the lower of the bodhisattva. The
knot is also given attention. The outfit of the human characters is typical Shunga Period style. The
attendants of the king are fashioned with ‘antariya’, the main garment secured by the waist band known
as ‘kayabandh’ .Their jewellery is quite similar consisting of a necklace and thick bracelet. The hair
dresses are typical Shunga period style with knot at front. What distinguishes the king in his fashion is
‘Uttariya’ or a long scarf which is worn diagonally across the chest. The rocks or small benches on which
boddhisatva and the king are seated on are depicted with royal touch as even in jungle they are laid with a
decorated fabric. Overall, the carvings of the Bharut seem rigid than the Sanchi as carving on Bharut are
early.

To compare the relief of Bharut and Sanchi, the latter appears to be slight late and therefore progression
and improvisation in the art of carving is evident. As this is synoptic way of narrating a story, five episode
from the Jatakas are carevd. The story in this panel starts by depicting the first scene, the arrival of the
king Bramhadatta of Benaras who is shown seated on the horse and is accompanied by his soldiers. A
servant behind him holds for him a parasol or chatra over his head which symbolises a royal status. The
one who would not have an idea of the story would first notice a long stretch of river that flows from top
to bottom. It is river Ganga which is beautifully depicted occupying much of the space in the centre of the
panel. It is possible that one who doesn’t know the story might misinterpret the long stretched carving to
be a path or a road that divides the panel. Therefore artists have sufficiently worked upon the
beautification of the river by showing variety of fishes swimming and different plants and tress standing
tall on the bank of the river right from the top to the bottom. The great and huge mango tree is depicted on
the left hand top corner. As the entire story is based on it, it has been shown to be larger and bigger in size
than the other trees on the panel. King Bramhadatta is depicted two times in the story, while sitting on the
horse in the secondary plane and is showed seated under the great tree on the extreme left in the tertiary
plane. His expression while he is seated on the horse is full of anger and ego while his expression after
witnessing the sacrifice of the monkey king differs than the prior. The ego and anger on his face has now
vanished and after learning the lesson and duty of a king to his subjects, the feel of peace and
understanding can be noticed on his face. In front of him is the Boddhistva who is portrayed with
calmness on his face and body is shown weak but winning as now he fears no death after fulfilling his
duty towards his subject. Just beside him are two men holding a piece of cloth as a stretcher or net to
catch the bodhisattva who had formed a bridge to let the monkeys pass from the mango tree to the other
side of river. Some of the monkeys have successfully reached the other and have started settling
themselves on different tress. In the centre of panel is the archer in a ready position waiting for the orders
from the king to shoot the monkeys. What is surprising is the fact that to the lower left of the panel stands
a group of people comprising soldiers who have carried swords, bow and arrow and a band of musician.
The presence of the band of musicians comprising a flute player, drum beater, other instrument player
symbolises three possibilities. One is that they are meant to accompany the king every time that show his
royal status. The second possibility is that the king had come to the forest to enjoy the delight and divine
fruit and therefore they were brought for entertainment and amusement. The third possibility was that the
bodhisattva was given a royal funeral in presence of the band. The attire of all the character highlights the
contemporary fashion. The typical Satavahana clothes is the chief highlight. The typical satavahana
knotted headgear and elaborate earring, antariya with plain waistband is worn by the soldiers and the
musician. Only the king has worn jewelleries and royal outfit with royal head dress. Thus artist has taken
all the care to portray the story by giving all significant episodes and utilizing much of the space of the
panel.

Another depiction of the Mahakapi Jataka appears on the western gateway of the Great Stupa (Stupa 1) at
Sanchi, also in Madhya Pradesh, India. The first scene, depicted at the bottom, shows the arrival of the
king of Benaras, mounted on a horse accompanied by soldiers. The king is shown with a parasol or chatra
over his head, which signifies his royal status. A feature that arouses curiosity is the portrayal of
musicians who accompany the king—perhaps meant to accentuate the royal status of the king, suggesting
that he travels with an entourage of attendants and musical accompaniment. To the right of the king an
archer appears with bow and arrow aiming at the Bodhisattva (Great Monkey).
Conclusion
The era of Buddhist art extensively started after the Mauryan Age. It was King Ashoka who started the
culture of art engraving on the stones. The pillars, edicts, and rock ok cut architecture patronized by the
king was followed by the future Kings. The Buddhist art prominently has its root only after the
patronization bye by the mauryan rulers. Indian art by that time was not just a mere art but it was linked
to the religion. Religious aspects found its expressions in the art. These basic ideas had evolved over
years and got locally recognised. The concept of fertility that prevailed in the Harappan Times was also
continued in the historic time. The images of yakshas and yakhsinis bear testimony to the fact that the art
which was rooted in the Harappan Times was still continued but in a broader sense. With the spread of
Buddhist religion the architecture also expanded. Stupas began to be built in huge numbers. As the
religion didn't permit the worship in image forms, stories and the happenings of the Buddha's life
decorated the gateways and pillars. The stories of the Buddha's past life are depicted on the gateways and
the pillars of the stupa. In the early stage the artists were getting used to carving on stones and prior to
this wooden carving were popular. Therefore in the early stage we do not find the reliefs much attractive
and realistic. The stupa of Bharut predates Sanchi. Therefore improvisation in the art was yet to happen.
The carvings of Sanchi are best of its times. There are certain possibilities because these carvings were
centrally patronized the Satavahana rulers and the artisans who contributed their efforts were expert stone
carvers. They belong to the region of rock cut excavators and therefore they smoothly carved the
gateways. While Bharut belongs to the early phase, Sanchi denotes next phase of the cultural
development. Figures were carved in high relief as compared to the low relief of early stupas. The
composition of landscape, nature, human characters got elegant character. The postures of the human
figures has no stiffness and rigidity and represented naturalistic charm. Narration of the story and
happenings got brief and sharp tone. Deep carvings impressed the visual appearance.

Bibliography

Jataka Tales – H. T. Fransis

Images credit- Wikipedia.

Introduction

The carvings imitate how the indian artist first presented Buddhist legends to his audience of monks,
worshippers and royal families.