Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s17: The Bodhisattva (Avalokiteśvara?)
Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s17
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The Bodhisattva (Avalokiteśvara?)
v2.c8.s17.1
The subject is painted on the wall of the back corridor, between the antechamber and the right side-chapel. As the fresco is damaged, it is reproduced in monochrome only.
v2.c8.s17.2
THE colours of the fresco seem to have suffered much from the smoke and flames of the fires lit in later times by the unsympathetic occupants of the *vihāra*, and the gold-brown complexion of the principal figure, which apparently represented Avalokiteśvara, has become so dark that it is difficult to notice any tinge of brownness in it. Further, the clay layer on which the colours were laid has peeled off, leaving large gaps in the composition, but the few pieces which are intact bear ample testimony to the skill of the artist in drawing and to his fine feeling for decorative effect.
v2.c8.s17.3
The head of the Bodhisattva is considerably damaged, but the fine features and the serenity of the expression can be seen. The beautiful crown with its delicate pearl strings shows the keen love of the artist for painting such subjects. Behind this figure, the dark background is relieved by stalks and foliage of exquisite design, some of which are sprouting from conventional rocks. Above the hills, to the left of the Bodhisattva, may be seen the figure of a lady who has raised her hands, in the act of adoration, towards the shrine. For beauty of conception and strength of technique, the graceful inclination of her body and the fine modelling of the limbs may compare favourably with the best specimens of Western art of the Renaissance period.
v2.c8.s17.4
Near this figure was another, representing a *Bhikshu*, whose dark-brown elbow and striped robe only may be seen now, the remaining part of the figure having perished.
v2.c8.s17.5
On the left side of the fresco, near the bottom, we see the feet of three women, which are adorned with *karās* (anklets). The toes of these figures have been drawn with great sensitiveness and feeling for feminine beauty. In front of the Bodhisattva was the figure of a child, probably making an offering of flowers to him. His tiny feet and the lower border of the *dhotī* only can be seen now.
v2.c8.s17.6
On the right side of the fresco, near the Bodhisattva, are four figures, all badly damaged. The best preserved is the torso of a lady, which shows excellent workmanship. Near her is a male figure, and below, a girl and a boy whose lower garments and feet may be seen.
v2.c8.s17.7
Above the hills, in the right-hand corner, are a pair of flying figures amidst clouds, which as usual are painted conventionally. The upper parts of the bodies of these figures have perished.
v2.c8.s17.8
This fresco, when intact, must have been one of the best specimens of the Ajanta School for grace of pose and vigour of technique.