Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v1.c5.s17: Offering of Lotus-Flowers to the Bodhisattva (Vajrapāṇi?)
Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v1.c5.s17
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Offering of Lotus-Flowers to the Bodhisattva (Vajrapāṇi?)
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Plates XXXI-XXXIII
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*This subject is painted on the back wall of the inner aisle, to the right of the antechamber, and is reproduced in three colour plates, one of them representing the whole of the fresco and the other two the busts of the Bodhisattva and of a black princess.*
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THE identification of the principal figure of this subject with Vajrapāṇi,² as made by some scholars, is not very convincing, for the symbol held in his right hand is more like a half-blossomed lotus-flower with a delicate stalk projecting to the right of his thumb³ than the end of a *vajra*, the symbol for a thunderbolt. The identification is apparently based on the analogy of some of the Buddhist caves at Ellora,⁴ where figures of the Bodhisattvas Padmapāṇi and Vajrapāṇi are carved in the antechamber of *dvārapālas*, but the symbolic lotus-flower and *vajra* are each absolutely distinct there and do not leave room for doubt as in the present case. The figure may with greater certainty be identified with that of the Bodhisattva Avalokiteśvara,⁵ for we notice the representation of a seated deity, who may be Amitābha, in the crown of the Bodhisattva. Avalokiteśvara has frequently been sculptured as a *dvāra-pāla* in Buddhist shrines,⁶ the image of Amitābha being the salient feature for his identification. He is the most esteemed Bodhisattva of the Mahāyāna pantheon, being styled Saṅgharatna, or the Jewel of the Order.
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² Vajrapāṇi is one of the divine Bodhisattvas; he is affiliated to the Dhyāni Buddha Akshobhya and the Buddha-śakti Locana. For further particulars see A. Getty, *The Gods of Northern Buddhism* (1st ed.), pp. 48-50, and Grünwedel, *Buddhistische Kunst* (English Translation), p. 90.
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³ The Bodhisattva with the beautiful hand also holds a flower of exactly the same form.
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⁴ The Do Thāl and the Tin Thāl.
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⁵ According to the Mahāyāna pantheon, Avalokiteśvara is regarded as having emanated from the Dhyāni Buddha Amitābha and his Śakti Pāṇḍarā. For further particulars see Getty, op. cit., pp. 52-66.
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⁶ For example in Cave II at Ellora.
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Though the identification of the subject may be uncertain from an iconographic point of view, to the student of art the fresco is a clear representation of a prince of the Earth and the Spiritual World. The refined features, shapely pointed nose, large eyes,¹ firm lips,² beautiful round face, and graceful limbs all indicate high birth, while the expression of peace and serenity pervading the figure is suggestive of the majesty of the spirit. The delineation of the jewellery, especially of the pearl-drops of the diadem and armlets, shows much delicacy of feeling and artistic taste. The pose is equally graceful, and the cause of the bending in this case has been explained by the hand of the Bodhisattva being placed for support on an adjoining figure.
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¹ The delineation of the eyes and eyebrows is, as usual, conventional.
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² The colour of the lower lip has faded and the white patch has somewhat marred the beauty of the face.
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VAJRA
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The complexion is golden-brown,³ the body in the royal fashion is exposed to the waist, and a striped silk *dhoti* covers the loins. The peeling away of layers near the neck and shoulders has much disfigured the general effect of the picture, but it still abundantly illustrates the poetic conception and exceptional skill of the artist.
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³ The palms show the effect of paint.
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The genius of the artist will, however, be better appreciated on studying the minor characters in this subject. For example, the figure of the old minister, below the right hand of the Bodhisattva, is a marvellous piece of art, so vigorous and perfect in technique and so redolent of sagacity in expression. The finely modelled head, with grey hair and sharp features, the chin resting on the back of the hand in a thoughtful mood, the silver brocade garment, all show extraordinary power in conception and skill in execution.
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Behind the minister is a rājā offering lotus-flowers to the Bodhisattva. He is tall enough, but quite small in the presence of the Great Being, whose glory has struck him with awe. The features of the rājā are well cut, and his ornaments and dress most becoming, but the contrast between him and the Bodhisattva is very great, and by it the artist has aimed to show the inferiority of worldly pomp and authority. The design of the ear-rings of the rājā, consisting of three separate drops of pearl and sapphire (?) from a small link, is interesting. Again the check and stripe patterns of the cloth in which the flower-tray is wrapped⁴ and the design of the robe of the rājā are noteworthy.⁵ The material in both cases seems to be silk. The palms of the rājā also are painted, which shows that it was customary to stain them in those days.
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⁴ It is also possible that the tray may be wooden, and the cloth design painted on it.
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⁵ The sleeves of the robe of the rājā are tight, like that of the *angrakhā*, but there are no laces or opening in front.
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Below the figure of the rājā, to the right of the Bodhisattva, is a princess to whom another lady of swarthy complexion is offering lotus-flowers. On account of this feature we gather that the princess is the consort of the Bodhisattva. The artist has delineated the figure with extraordinary skill, not only as regards exquisiteness of form and beauty of artistic detail, but also as regards life-like effect and inner expression.
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The contour of the face is most graceful and the features highly refined, while the delineation of the eyes is extremely realistic, the hazel-brown of the pupils and the red of the corners making them almost lifelike. The nose is sharp and the lower lip a little thick. The treatment of the hair at the temples and the nape of the neck in fine curls is most charming. The jewellery also exhibits equally good taste, the pearl tiara with a fine sapphire ornament in the middle being extremely effective.
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The peeling away of the fresco in some places has robbed the picture of a great deal of its charm; but its fine modelling, exquisite ornamentation, and chaste, restful expression undoubtedly place it among the best works of Indian genius; considering its age it may, perhaps, rank high even among the best specimens of the art of the world; but it would be more appropriate if some one who is not an Indian were to express an opinion on this point.
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The features of the lady who is offering flowers are too much obliterated for appreciation of their beauty, but among her ornaments the large wheel-shaped ear-rings¹ and the set of ivory bangles, such as are still used by some of the primitive peoples of India,² are prominent. There is a lady, at the left-hand side of the Bodhisattva, who is also wearing large ear-rings; the pink-striped design of her skirt (?) is also interesting. A large portion of the head of this figure is destroyed, hence the expression of her face cannot be studied. Below this lady is the figure of a stalwart personage, with broad face and well-defined features. The Bodhisattva has placed his left hand on his shoulder for support. This intimacy suggests that he is an important person, perhaps the general of the army, which supposition seems to be confirmed by the two black straps on his shoulder from which the swords are hung on his back. The metal buckle to be seen on one of these straps is interesting; so is the simple design of the gold chain round the neck of the general (?). He is wearing a long coat,³ and a gold band adorns his head.⁴
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¹ The ring in the right ear of the Bodhisattva is also of a similar type, and the blue colour of its inner surface indicates a knowledge of enamelling.
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² Like the *Lambādis* of the Deccan.
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³ In this subject all three male figures, the rājā, minister, and general, are dressed in long coats, apparently as a mark of respect to the Bodhisattva. The point is interesting, for we have noticed in other court scenes that in the presence of the supreme lord minor personages are always properly clad, although he himself is not fully dressed.
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⁴ Although crowns of most beautiful type were in vogue, the use of head-gear among ordinary persons had not come into fashion. The figures wearing caps invariably represent foreigners in the fresco.
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High up on the hills, at the top left-hand corner of the fresco, we see a male and a female figure, probably husband and wife, deeply engaged in conversation; the topic is apparently religious, as is indicated by the conventional loop of the fingers of the male figure. The features of the woman are somewhat obliterated, but her pose is distinct and most charming. The features of the male figure, except the eyes, are well preserved, and represent a handsome face. The beauty of the chin and nose is accentuated by throwing a high light on it. This figure also has a black strap with a buckle on the shoulder.
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Above the hills, high up in the clouds, were *apsaras* (flying figures), but they are destroyed now, though the striped blue-silk lower garment of one of them may still be seen.
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The colour-sense of the artist seems to be highly refined, and the idea of white flowers on a pale-green background is extremely happy. The blue of the garments and conventional hills is also most charming, while the various tints of brown, golden, chestnut, and clay-colour have been judiciously adapted to represent the complexions.
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The creations of this artist, apart from their well-defined features, possess a certain robustness, which makes them striking, especially so in contrast with the delicate and supple figures of the majority of the other artists of Ajanta.