Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v1.c5.s13: Bodhisattva Padmapāṇi
Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v1.c5.s13
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Bodhisattva Padmapāṇi
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Plates XXIV–XXVII
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*The subject is painted on the back wall of the inner aisle, to the left of the antechamber, and it is reproduced in colour in two plates, one of them representing the whole of the fresco and the other the bust of the principal figure, Padmapāṇi. For purposes of detail two plates are given in monochrome also, showing the Bodhisattva and some other figures.*
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THIS fresco is unanimously considered to be the chef-d'œuvre of Indian art. The principal figure, Bodhisattva Padmapāṇi,² is delineated as of colossal size,³ and its graceful pose, refined expression, and beautiful colouring at once capture the gaze. The artist has represented in this figure all the qualities which youth, high birth, noble character, and religious temperament can combine. The body, although not an ideal specimen of physical culture, yet has strong masculine limbs, a broad chest, round arms, and a well-set neck. The facial features are most elegant: a high intellectual forehead, large meditative eyes, aquiline nose, and firm lips; the raised eyebrows and the high light on the nose and the chin give an air of spirituality to the countenance. The complexion is equally refined, a pearl-grey with warm brown flush, perhaps indicative of the glow of youth. Long black hair in the hermit fashion falls uncoiled on the shoulders, while there is placed upon the head a high crown set with choicest sapphires, emblematic of royal birth. The jewellery is not profuse but is select in type; the pearl and sapphire necklet contains the finest gems, and the design of the longer strings of pearls and the style of wearing them across the chest and round the arm are highly artistic. The scanty dress perhaps suggests an ascetic life, but figures of rājās have generally been painted at Ajanta without any upper garment. The clothing round the loins in this subject is apparently a *dhoti* of striped silk worn in an artistic style.
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² The term Bodhisattva in the beginning was applied to every member of the *Saṅgha* or Holy Order; but later (the period of the Gandhāra sculptures) it was restricted to those only who possessed extraordinary virtues. Among this distinguished class, five (according to some, six) were considered to be divine and affiliated to *Dhyāni* Buddhas and their respective *śaktis*. Padmapāṇi, ‘the lotus-handed’, is one of the divine Bodhisattvas, and he is affiliated to the *Dhyāni* Buddha Amitabha and the *śakti* Pāṇḍarā. According to Buddhist scriptures Padmapāṇi has been performing the duty of a Buddha since the disappearance of Gautama, and he will continue to do so till Maitreya, who is now in the Tuṣita heaven, descends to earth.
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³ The fresco being damaged, the legs of the figure from a little above the knee are missing. The measurements of the figure in its present condition are as follows: *Height of figure*: from crown to a little below the knee, 5 ft. 9½ in. *Breadth*: from shoulder to shoulder (across the chest), 2 ft. 5½ in. *Waist*: across, 1 ft. *Arm*: across, 6 in. *Face*: Forehead to chin, 1 ft.; jaw to jaw, 9 in.
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The pose with a swing at the waist-line, although somewhat conventional, is yet quite pleasing, producing a lively idea of movement in the figure.¹ In the right hand the Bodhisattva is holding a blue lotus, suggestive of his title Padmapāṇi and also emblematic of purity of character.² The fingers of the left hand seem to be contorted in a conventional style; but as the fresco is there damaged it is difficult to criticize them properly.
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¹ The pose originally seems to have been adopted from the dancing attitude.
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² It may be interesting to note that in the Mughal pictures of India a favourite pose for a king or queen is with a flower in the hand.
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The light and shade have been carefully marked,³ and a life-like effect has been produced by the accentuation of the dark-brown outline.
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³ The tint of the neck below the right jaw is darker, and again the left side of the face is browner than the part of the face shown in the light.
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Apart from the merits of the principal figure, the composition of the subject as regards delineation of minor characters and beauty of environment exhibits a high intellectuality and great artistic fancy. For example, the dark princess,⁴ to the left of the Bodhisattva, painted almost life-size,⁵ is by itself a *tour de force*. The artist has painted her as swarthy simply for love of contrast to the pearl-grey complexion of the Bodhisattva, but the treatment of the limbs is exquisite, showing much feminine charm. The serenity of her face amply atones for her scanty clothing, which comprises only a bodice of fine gauze,⁶ and a short skirt of striped silk. The irregular lines of the upper part of the latter garment show the caprice of the artist's imagination. To brighten up the otherwise dark complexion he has thrown a high light on the nose and lips and placed pearl ornaments around the body. The ribbons hanging from her right shoulder are also artistic. Her general expression, however, exhibits restraint and modesty combined with an air of meditativeness, which, by means of special delineation of the eyes, is a general feature of all the figures at Ajanta.
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⁴ At Ajanta there seems to have been no colour distinction; fair rājās and dark queens, and vice versa, have been painted frequently without any idea of derogation. The general colour of the skin is, however, dark brown, which is fairly representative of the Indian complexion. To this general colour, sometimes a golden hue, or a pinkish effect has been given, apparently to show the state of health or the mood. There are also figures of brick-red and dark-green (livid) complexions, the former generally representing farmers, workmen, and people of lower classes, who on account of their profession are exposed to the sun, and the latter used either figuratively for people living in woods, or for those who have lived morally a wild life, and whose faces have actually turned green.
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⁵ The legs of this figure are also missing. Its measurements in its present condition are as follows: *Height*: from crown to a little above the knee, 4 ft. 5½ in. *Breadth*: across the shoulders, 1 ft. ¾ in. *Waist*: across, 9 in. *Below the waist line*: across, 1 ft. ¾ in. *Face*: length, 9 in.; breadth, 6 in.
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⁶ It is difficult to trace the gauze of the bodice in the reproduction, but on the original fresco it can be discerned in fine brush lines.
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She also is holding a lotus in her hand, apparently to indicate that she is the consort of the Bodhisattva. The artist has attempted to indicate the grace of a matron instead of that of a young damsel, and her pose in being slightly turned from the Bodhisattva, to whom the public gaze naturally will be directed, is very characteristic of the habit of Indian women when appearing in public with their husbands or relatives.
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Behind the Bodhisattva and the black princess is a female *chaurī*-bearer of rather unusual features. Her long blue coat and peculiar head-gear, with four upturned embroidered flaps and a conical top in the middle, suggest that she is a foreigner,¹ perhaps one of the Scythians who had embraced Buddhism in considerable numbers at this time and settled in the Deccan.²
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¹ According to some scholars, the Vākāṭaka kings, under whose auspices some of the monasteries of Ajanta were excavated, had foreign blood in them. Further, we find inscriptions at Nāsik and Kārli mentioning the names of certain *Yavanas*. A *Śaka* satrapy was also established in the country now called the Central Provinces.
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² Caps of this kind are still in vogue in Turkistan.
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At the right side of the Bodhisattva is a dark mace-bearer who has raised his finger, perhaps to indicate that he is in watchful attention to the commands of his lord. The figure is burly and the features rough, appropriate for a guard. He is wearing a long white coat, apparently his uniform when on duty. Between the Bodhisattva and the dark mace-bearer there are two other figures, one male and the other female, both of a dark complexion. Their features, however, are obliterated, as the fresco is much damaged at this place. To bring the figure of the Bodhisattva into prominence these two figures have been painted short, their heads reaching only to his waist.
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The background of the picture also shows much vivacity. Upon conventional hills, which are suggested by red bands,³ we see monkeys frolicking about, and higher up a pair of peacocks crying with joy. The male bird has raised up its neck, the beak being open, while the female is listening to the note of its mate in an amorous attitude.
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³ Hills at Ajanta have often been suggested by such bands, which in some cases have also been used as partitions to separate one subject from another.
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To the right of the peacocks is a grove, whence a human pair are watching the Bodhisattva. The female is leaning on her partner in a loving manner, with her left hand placed on his shoulder and with the right caressing his arm. The features of these two are obliterated, but they seem to be in a joyful mood.
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On the left side of the fresco at the top we notice two *gandharvas* (flying figures), one male and the other female. The upper parts of their bodies are missing, but the lower are intact and show them floating in the air. The male *gandharva* holds in his right hand a sword erect, while in the left was perhaps a trumpet, but this is not clear now. The female figure has clasped the shoulder of her mate and, supported thereby, is drifting in the air. Below the *gandharvas* are two *kinnaras* (heavenly musicians) with human busts and birds' legs and claws. The long dark lines of *surma* (eye-powder) are very prominent in the corners of their eyes. One of them is playing on a harp, the form of which will interest the student of the early musical instruments of India. Lower down, a little above the shoulder of the Bodhisattva, is a pair of dwarfs (cherubs?) who are moving their hands and legs about to convey their sense of extreme joy at the sight of the Bodhisattva.
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Below the *gandharvas* there is also a happy couple, a fair *rājā* and a dark queen, sitting in an amorous attitude and watching the Bodhisattva from their hill retreat. The pose of the queen is extremely graceful and shows much artistic feeling. The belts of hills continue at the back of this happy couple, and higher up we see some monkeys and also a lion.
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The restraint and austerity expressed in the figure of the Bodhisattva and that of his royal consort are delightfully balanced by the mirth and glee of the animal world and the heavenly beings; and the rhythm of this spiritual theme obtains additional grace by a tasteful contrast of colours, the pale greens of the foliage merging into the scarlet of the belts of hills and the fresh blues of the birds’ feathers, and the drapery and jewellery enlivening the dull flesh-tints.
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Apart from the marvellous effect of the picture as a whole, the student will find delight in many a pretty detail; for example, the delineation of the areca-nut palm and the aśoka tree leaves is extremely artistic. Again, the placing of black dots on the green background behind the crown of the Bodhisattva has added to the perspective effect.
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The name and history of the artist who painted this wonderful subject will never be known, but the fading fresco, as long as it survives, will tell the story of the genius and skill of its author in most eloquent terms.