Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s23: Pūrṇa Bringing Offerings to the Buddha: Pūrṇa Avadāna

Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s23

Language: English

Pūrṇa Bringing Offerings to the Buddha: Pūrṇa Avadāna

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*The subject is painted above the third cell-door, but as the colours of the fresco have much faded, it is reproduced in monochrome only.*

THE story is continued from the last plate (XLII). We notice the Buddha coming to the sandal-wood *vihāra*, which Pūrṇa has built as a mark of his devotion to the Great Being. To describe the fresco in detail, beginning at the top left part, we first find the Buddha descending from heaven with the two *Arhats* (?or *Bhikshus*), who are shown flying behind him.¹ A little lower down, the Buddha appears standing on the ground with his two disciples, and receiving a group of votaries who have brought offerings to him. The figure of the Buddha is a little larger in size than those of the two disciples, but they are all draped alike in a long cloak or sheet, the right shoulder and arm being exposed in observance of religious convention. The colours of the fresco have been darkened by smoke, but the outline of the figures is intact and shows excellent drawing.

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¹ These figures are not reproduced in the Plate.

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In front of the Buddha is Pūrṇa, whose features and pose are extremely graceful. He is presenting a metal *loṭā*², evidently filled with water as an emblem of worship to the Buddha.

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² A small, round, metal water-pot, still in use amongst the Hindus in India.

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Behind Pūrṇa, there are three male figures, two of whom, carrying trays, have bent down in the characteristic Indian way to show their respect to the Great Being. Behind these male figures are painted four ladies whose poses and dress show great beauty and charm. The features of these figures have become somewhat dim, but the expression of veneration or of amazement can be judged from the gestures of their hands. The wavy trail of the *sārī* of a lady of this group shows artistic feeling.

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In the background the painter has delineated a monastery, the sandal-wood *vihāra* of the story, which has two stages. The doors of this building show very plain architecture, such as is noticed in Indian villages now. The rectangular design to the left of the lower door represents either the grill of a window or a painted dado.

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Below the figures of the Buddha and his two disciples is painted a party of musicians (Plate XLIV *a*). Their figures are somewhat indistinct; still the musical instruments on which they are playing can be made out. One of them has a large drum hung from his neck by leather straps. The drum itself is covered with a network of cord either of cotton or leather. The figure to the left of the drummer is playing on a flute, and farther to the left is another playing on cymbals (*jhānjh*). Below the drummer is a trumpeter, and in front of him a conch-blower. The outline of these figures wherever intact shows great beauty and vigour. To the left of the musicians are two ladies painted in the act of adoration. Their features and poses are very striking, showing good taste and highly developed technique. Below these two ladies there was another figure of which the head and a part of the body only may be traced, the rest having perished.

Linked texts (1)

Divyāvadāna — Sanskrit