Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s15: The Buddha in Various Attitudes
Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s15
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The Buddha in Various Attitudes
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Plates XXVIII *b*–XXIX
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*The figures are painted on the right and left walls of the shrine. Those on the right wall being in a comparatively better state of preservation are reproduced in colour, while those on the left wall, being damaged, are shown in monochrome only.*
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IN the delineation of a figure of the Great Being, strict observance of the religious law would have left little scope for the artist to display his imagination, though the figures painted in the shrine are not so sterile in artistic effect as those painted in the antechamber or in other parts of this *vihāra*.¹
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¹ On the walls of the antechamber one thousand figures of the Buddha are reproduced in a conventional style. They are crudely drawn, and possess no artistic merit. The figures are arranged in rows, and some of those which are painted on the front wall to the right of the door have inscriptions below them. The latter have been studied by Mr. J. Allan in the Appendix. There is an inscription also below the seat of the Buddha, painted on the base of the left column of the antechamber. *Vide* Appendix.
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The drawing and colours of the figures on the left wall have faded considerably (Plate XXVIII *b*), but those on the right wall are fairly well preserved, and show the skill of the artist in the treatment of this obviously difficult subject.
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Originally there were sixteen figures, arranged in rows of four on each wall. The teaching attitude has been selected, but the artist has taken the liberty of delineating the left hand in the meditation pose. For the sake of variety the soles of the feet are turned upwards in some cases, and turned sideways in others. The heads of some figures are also inclined with the same object. The general expression conveys calm, which, combined with the high lights of the face and the gestures of the fingers, gives a mystic effect.
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The features are highly refined and the fingers exquisitely drawn, but the treatment of the lobes of the ear and the curls of the hair with the tuft (*uṣṇīṣa*) on the crown is absolutely conventional.² The figures are draped with robes, but to conform to the religious tradition, the right arm and chest are exposed in some cases. The delineation of the seats in the form of lotus-flowers is again conventional,³ but in the designs of the cloth of the cushions on which the Buddhas are leaning, the artist has shown his fancy, and we notice several pleasing patterns, apparently representing those in fashion at the time.
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² According to Buddhist tradition, which was followed by Indian artists, the hair of the Buddha should be short, the curls falling from left to right, and the top-knot (*uṣṇīṣa*) should also be covered with short curls. For further information see A. Getty's *The Gods of Northern Buddhism*, pp. 198-9.
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³ The lotus (*padma*) was a symbol of self-creation among the Buddhists. Every Buddha or Bodhisattva, being self-existent, is supported by a lotus-flower to indicate his divine birth. *Ibid.*, p. 192.
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The imagination of the artist has also found free play in the delineation of the *chaurī*- bearers, a pair of whom, one male and another female, attends each Buddha. The male attendants are wearing crowns, while the female have rich coiffures, their hair being decorated with tiaras and other ornaments. The features and expressions of these figures show the skill of the artist in adding vivacity to an otherwise monotonous subject.