Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s19: Votaries Bringing Offerings to the Bodhisattva (Padmapāṇi?)
Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s19
- Language
- English
Votaries Bringing Offerings to the Bodhisattva (Padmapāṇi?)
v2.c8.s19.1
Plate XXXIII *b
v2.c8.s19.2
*The subject is painted on the right wall of the chapel to the right of the antechamber, and as the colours are not very luminous, it is reproduced in monochrome only.*
v2.c8.s19.3
THE scene seems to be a continuation of the previous one, for the setting of natural scenery in the background is the same, and we notice the advance part of the group of votaries approaching a Bodhisattva, who, on account of his holding a lotus-flower in his right hand, may be identified with Padmapāṇi. The Bodhisattva is squatting on a circular mat, the pose being rather unusual. One leg is bent with the knee upright, while the other is bent but resting on the ground. The head of the Bodhisattva is destroyed, so the features cannot be studied.
v2.c8.s19.4
To the right of the Bodhisattva is a female attendant holding a *chaurī*. Her complexion is fair, and her features and pose are most graceful. She has a band or round cap on her head similar to those worn by two ladies in the previous subject (Plate XXXII). The painter has shown great feeling in the delineation of her right hand, which is holding the handle of the fly-whisk. The curve of the arm, the modelling of the elbow, and the drawing of the fingers are all most charming.
v2.c8.s19.5
To the right of the *chaurī*-bearer is a male figure, whose bold step and gesture of the right hand suggest that he is requesting the two ladies behind him to come forward and lay the offerings before the Bodhisattva. He is armed with a bow, which may be seen on his left shoulder. One of these two ladies holds a tray of offerings. The features of the two ladies are partly obliterated, but the drawing where preserved is of the same type as that shown in the previous plate (Plate XXXII). The painter’s love for elaborate coiffures is prominent in this subject as well.
v2.c8.s19.6
Below the lady who holds the tray there is a female *chaurī*-bearer whose head has been damaged. The drawing of the torso shows much grace and beauty. Below the *chaurī*-bearer are figures of three children, one of whom is carrying a jack-fruit (*kathal*), another a small basket on his shoulder, and the third a lemon or an orange. The vivacity and movement of these figures are striking.
v2.c8.s19.7
In front of the boys is a large circular tray with a conical cover of the type still in vogue in India.¹ On the other side of the tray, towards the left, are three more boys, two of whom are carrying cocks(?). The delineation of these boys is also most lively, and takes away much of the seriousness of the subject which has been otherwise effected by the religious mood of the votaries.
v2.c8.s19.8
¹ These conical covers are called *chhibhās* in the Deccan, and are generally of basket-work.
v2.c8.s19.9
In the upper part of the fresco, above the blocks of conventional hills, a *Gandharva* and a pair of other celestial beings may be seen flying in clouds. They are bringing flowers on trays made of leaves for presentation to the Bodhisattva. The figure of the *Gandharva* is striking on account of its fine modelling and decorative detail.