Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s22: Story of a Sea Voyage: Pūrṇa Avadāna

Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s22

Language: English

Story of a Sea Voyage: Pūrṇa Avadāna

v2.c8.s22.2

*The subject is painted between the second and third cell doors of the right corridor, and is reproduced here in colour.*

THE fresco represents some scenes of the *Pūrṇa Avadāna*,¹ which are painted with great vividness. In the lower scene, commencing from the left, we see the Buddha blessing a votary who has knelt down before him in the act of adoration. The votary is apparently Pūrṇa, and the scene may refer to his embracing the Buddhist faith. The heads of both figures are badly damaged, thus preventing a study of the expressions of the faces.

v2.c8.s22.4

¹ The main incidents of the *Pūrṇa Avadāna* are as follows: Pūrṇa, whose mother was a slave-girl, was the youngest and favourite son of a rich merchant of Sūrpāraka. After the father’s death he and his eldest brother Bhavila were deprived of their property by the other two brothers, but by the judicious marketing of some sandal-wood Pūrṇa restored their fortune and became eventually the chief merchant of the country. He made six successful ocean voyages, and was then inclined to rest content; but some merchants from Śrāvastī persuaded him to embark a seventh time. On the way he heard them reciting verses in praise of the Buddha, and was filled with a desire to embrace the faith. When the voyage was over he obtained the permission of his brother Bhavila to abandon the worldly life, and received instruction from the Buddha at Śrāvastī. To show that he had now no care for the body he chose to live in the land of the Śroṇapārāntakas, a notoriously fierce and dangerous people, and converted many of them. Meanwhile Bhavila had gone to sea and arrived at a land where was a forest of *Gośīrsha* sandal-wood; his men proceeded to cut down the trees, whereupon the owner, the *Yakṣa* Maheśvara, raised a hurricane of the kind no ship can withstand. Bhavila was helpless, but his companions called to Pūrṇa for help. Pūrṇa, by his supernatural power, appeared on the ship, the storm ceased, and the *Yakṣa* had to yield. Upon his return to Sūrpāraka Pūrṇa built a sandal-wood *vihāra*, and with the co-operation of his brothers and the king prepared a reception for the Buddha. The rest of the *Avadāna* relates the miracles associated with the Buddha’s journey from Śrāvastī to Sūrpāraka. (From *Divyāvadāna*, ed. Cowell and Neil, Cambridge, 1886.)

v2.c8.s22.5

In front of the last scene is another in which a boat is attacked by fishes and sea-monsters in the midst of a stormy sea. The painter has shown in this scene the sea voyage of Bhavila, the elder brother of Pūrṇa, whose boat has been caught by a storm raised by the Yaksha Maheśvara. The surf and deep blue water have been rather conventionally shown by curved black and white lines which, however, are not displeasing to the eye. Among the fishes are the figures of two Nāga spirits who have either come to the rescue of the boat or, like the traditional mermaids, have appeared on the scene to beguile the crew by their beauty and charm. The former view seems to be more probable, for in the Buddhist literature the general inclination of the Nāga spirits is for the welfare of man, especially in connexion with their power over the element of water.¹ The painter has delineated these two figures with great imagination and skill. The lower parts of their bodies are coiled like that of a serpent, while the upper parts, which are human in form, have a graceful outline showing much feminine beauty. Their pose is also very striking, being suggestive of rapid movement. One of them has a halo of three serpents’ hoods above her head, probably an emblem of sovereignty. We see another semi-human figure below the boat itself. The lower part of the body of this figure is apparently like that of a fish, but as the fresco is much damaged at this place, it is just possible that this figure may also represent a Nāga spirit, while the part representing a fish may be the body of another sea-animal. We notice a large variety of fishes in the sea, many of them are obviously mythical, but some are real.

v2.c8.s22.6

¹ Vide Vogel’s *Indian Serpent-Lore* or Winternitz’s ‘Der Sarpabali, ein altindischer Schlangencult’, *Mitteil. der anthropol. Gesellschaft in Wien*, vol. xviii (1888).

v2.c8.s22.7

The boat itself seems to be massively built, and the presence of twelve large pitchers of fresh water in its bow may indicate the strength of the crew, or suggest that the vessel is bound for a long voyage. A pair of oars is visible, each of which is attached to the side of the boat by a loop, the ends of the latter for security being passed through two rings fixed to the boat (Plate XLII).² Dragons’ heads are carved both in the front and hind parts of the boat, and there is a lip-like projection at each end which adds to the picturesqueness of the design, and might have been useful for steering purposes as well, especially in shallow waters.

v2.c8.s22.8

² The contrivance is called ‘rowlock’ in nautical terminology.

v2.c8.s22.9

Near the oar, on the starboard side, there is a plank frame, which apparently marks the place whence the captain of the boat regulated the steering. There are three masts, apparently of timber, from which sails are hung. There is a post fixed to a frame in the stern of the boat as well, from which another sail (jib-sail?), fully blown by wind, may be seen.

v2.c8.s22.10

On the boat we notice Bhavila looking up to heaven for succour, raising his hands in prayer. An angel (?) is painted as if coming down from heaven to the rescue of the boat.³ The wings of the angel have a remarkable similarity to those shown on a fresco in Sir Aurel Stein’s Collection of Central Asian Antiquities at Delhi. The latter fresco is of course much later than its prototype at Ajanta. A little higher up we see another flying figure. This is evidently Pūrṇa who, according to the *Avadāna*, appears on the scene by his supernatural powers. The figure of Pūrṇa has been damaged considerably.

v2.c8.s22.11

³ Foucher has identified this figure with Maheśvara; but in the fresco this celestial being, descending from heaven towards Bhavila, whose hands are raised in prayer, seems to be rather a redresser than an aggressor. See *Jour. Hyd. Arch. Soc.* 1919-20, p. 93.

v2.c8.s22.12

Above the storm episode there is another scene in which Pūrṇa is shown bringing presents with a large procession to the Buddha. According to the *Avadāna*, Pūrṇa, on his return to Śūrpāraka, with the co-operation of his brothers and the king, arranged for a reception for the Buddha. The painter has separated the reception scene from the previous two by deep green blocks, which represent rocks conventionally. The reception scene shows a monastery in which we see votaries passing through a portico into a court which is overlooked by a music gallery and another apartment. The procession ultimately reaches the room where the Buddha is seated, delivering a sermon to the congregation. The various parts of the monastery shown in the fresco have a striking resemblance to the open court, music-gallery, and inner hall of many a temple in India.

v2.c8.s22.13

To describe the figures. Commencing as usual from the left, we notice two ladies of exalted position in the portico. Their upper garments are scanty and transparent, so the painter has taken the opportunity to show their bodily charms by the delicate curves of his brush lines. Their poses and gestures are suggestive of the shyness of Indian women, and one of them has placed her hand on the shoulder of her companion who is looking back at her in a graceful manner. At the inner entrance of the portico, near the steps, another lady is carrying a tray of offerings on her left shoulder. The features and the expression of the face of this lady show much delicate feeling and feminine grace. In front of her, and on the steps, is a girl whose figure has been spoiled by the decay of the fresco.

v2.c8.s22.14

In the court, near the steps, are painted four women, who by their features and styles of coiffures seem to be of a lower class, and may be identified with *dāsīs* (servant girls). One of them, carrying a large tray of presents, has very rough features, resembling those of the ‘Dravidians’ of South India. Her stooping pose is suggestive of the heavy weight of the presents.

v2.c8.s22.15

In front of these four women is a male figure who, on account of his large size, may be identified with Pūrṇa.¹ The way in which he wears the large necklace round his arm and shoulders indicates the smartness of his nature, but as the head of this figure is damaged it is impossible to observe the expression of his feelings. Close to Pūrṇa, there is another votary. He is probably his elder brother, Bhavila, a little smaller in size, but has very refined features. Bhavila is looking at Pūrṇa, apparently for guidance as to what ceremonial should be observed when making the offering to the Great Being.

v2.c8.s22.16

¹ The painters of Ajanta often distinguish the principal characters of a story by their comparatively larger size.

v2.c8.s22.17

In front of Pūrṇa there are four more figures whose crouching poses and timid expressions suggest that they are servants and ready to carry out his instructions in the performance of the ceremony. The features of these figures are coarse, and the one wearing a blue *dhotī* (?)² has almost a ‘Dravidian’ appearance. Another of these servants holds a sword erect in his right hand and a shield in his left. The design of the latter is somewhat blurred on account of the decay of the fresco.

v2.c8.s22.18

² This figure may be female. The fresco is badly damaged, so identification is difficult.

v2.c8.s22.19

The courtyard of the monastery from which the procession of votaries is passing has a music gallery on one side. It is one stage higher than the courtyard, and has three openings towards it in the pillar and lintel style. The fresco is badly damaged at this place as well, but the figures of three musicians can be made out, one of whom is playing on cymbals and another on a pair of drums. To the right of the music-gallery is another apartment of the monastery, at the door of which two women are seen. One of them by her rich coiffure and elegant pose seems to be a lady of rank, while the other who is carrying a tray is apparently her *dāsī* (maid-servant).

v2.c8.s22.20

Proceeding farther towards the right, we notice another apartment of the monastery, where the votaries have assembled before the Buddha, who is teaching the sacred doctrine to them. Among the votaries are seven men and two women, the position of the latter being a little lower and separate from that of the men. This distinction may be of interest as indicating the relative position held by women among Buddhists. The poses of all these figures are very realistic, reminiscent of the attitude of reverence and respect borne by the people of India even now when sitting before holy men. Behind the Buddha a *Bhikshu* may also be seen, but as the fresco has perished at that place, the lower part of the *Bhikshu*’s figure has entirely disappeared.

v2.c8.s22.21

The arrangement of the several episodes of the story in this fresco reflects great ingenuity on the part of the artist, for each part looks separate from the other while all together form a connected tale. The delineation of some figures is also most artistic, particularly the figure of the lady at the inner entrance of the monastery, near the steps, whose pose and expression are indeed a vision of the Indian ideal of feminine beauty and elegance.

Linked texts (1)

Divyāvadāna — Sanskrit