as Indian ships used in international trade. Similar depictions are found in the paintings of Cave 17, but this time in direct relation to the worship of the Buddha. In Cave 17, a painting of the Buddha descending from the Trayastrimsa Heaven shows he being attended by many foreigners. Many foreigners in this painting are thus shown as listeners to the Buddhist Dharma. The ethnic diversity is depicted in the painting in the clothes (kaftans, Sasanian helmets, round caps), hairdos and skin colors. In the Visvantara Jataka of Cave 17, according to Brancaccio, the scene probably shows a servant from Central Asia holding a foreign metal ewer, while a dark-complexioned servant holds a cup to an amorous couple. In another painting in Cave 17, relating to the conversion of Nanda, a man possibly from northeast Africa appears as a servant. These representations show, states Brancaccio, that the artists were familiar with people of Sogdia, Central Asia, Persia and possibly East Africa. Another hypothesis is offered by Upadhya, who states that the artists who built Ajanta caves "very probably included foreigners". Impact on later painting and other arts The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka. Some influences from Ajanta have also suggested in the Kizil Caves of the Tarim Basin, in particular in early caves such as the Peacock Cave. The rediscovery of ancient Indian paintings at Ajanta provided Indian artists with examples from ancient India to follow. Nandalal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore and Syed Thajudeen also used the Ajanta paintings for inspiration. Anna Pavlova's ballet Ajanta's Frescoes was inspired by her visit to Ajanta, choreographed by Ivan Clustine, with music by Nikolai Tcherepnin (one report says Mikhail Fokine in 1923). and premiered at Covent Garden in 1923. Jewish American poet Muriel Rukeyser wrote about the caves in "Ajanta," the opening poem of her third collection Beast in View (1944). Rukeyser was inspired in part by writings on the caves by artist Mukul Dey in 1925 and art historian Stella Kramrisch in 1937. See also Cetiya Bedse Caves Bhaja Caves Dambulla cave temple Kanheri Caves Karla Caves Nasik Caves Pitalkhora Caves Shivneri Caves List of colossal sculptures in situ Notes References Bibliography "ASI": Archaeological Survey of India website, with a concise entry on the