Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v3.c12.s14: The Buddha in Various Attitudes

Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v3.c12.s14

Language: English

The Buddha in Various Attitudes

*These figures are painted on the triforium in Cave IX at different places. The colour subject XVb is painted above pillars 8 and 9 on the right side, the head of the Buddha (XXIa) above pillar 8 on the left side, and the figure of the Buddha (XXIb) above pillar 6 on the right side.*

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ON the triforium to the right and left of the *dāgoba* the entire space is filled up with figures of the Buddha. At the top there is a row of seated figures, and below them another row, in which the Great Being is painted seated on a throne and attended by Bodhisattvas and *chaurī*-bearers, the latter standing behind his throne. The Bodhisattvas are also standing, on either side of the throne; each of them has an umbrella over his head, held by an attendant. The thrones have an elaborate design, the upper corners of their backs being shaped like a monster whose head resembles that of an elephant or of an alligator and who has a protruding tongue in the form of a serpent (XV *b*). The front legs of the throne have the heads of elephants at the top and the bodies of lions with elongated necks as supports. The throne seems to have been made of gold or silver, and the engraving and embossing exhibit clever workmanship.

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The heads of the seated Buddhas are more or less conventional, indicating a meditative mood. But the figures of the Bodhisattvas show high skill in modelling and other technical detail. To wit, the head of the standing Bodhisattva to the right proper of the seated figure (XV *b*) has almost classical features, apart from its spiritual expression and the decorative detail of the hair which has been dressed up and knotted on the crown of the head. The drawing of the left elbow and hand of this figure also shows much grace and artistic feeling. The Buddhas and the Bodhisattvas are draped in orange sheets, the bodies being light brown, while the complexion of the *chaurī*-bearers is quite fair, and as they are wearing crowns and rich jewellery, they appear to be of the princely class. The background of the fresco has been purposely painted dark green so that the figures in lighter colours may stand out in relief. The artist has used washes of dark colours in order to produce the effect of shading, while high lights on the contrary have been shown by washes of light colour. The style of painting of these figures resembles that of some of the frescoes of Cave II, but there is more imitation in it than any improvement upon the painting of the latter cave. The drawing of some figures is also defective, for instance the arms of the Bodhisattva, painted above pillars 2 and 3 on the right side, are disproportionately long. The grouping of the figures is also monotonous and shows art of a decadent type.

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But some of the heads of the Buddhas and Bodhisattvas, as observed above, exhibit careful drawing combined with a love of detail, and the figures above pillar 6 on the right side (XXI *b*) and above pillar 8 on the left side (XXI *a*) are very good examples of that. The eyes of the former have been painted like that of a *yogī* almost closed, as if he were absorbed in contemplation, while his face has been lighted up by the effulgence of his inner experience. The eyes of the other Bodhisattva are bright and clear (*b*), and the artist in showing the curls of his hair has given them rather an ornamental than a real appearance.¹

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¹ The pillars of this cave were also painted, but as they decayed mainly through the accumulation of rainwater during the monsoons, the paintings are not to be seen except in a few places where remnants of the pillars still exist. Adequate arrangements have been made to stop the accumulation of water, and for the support of the triforium the pillars have also been reconstructed. On a pilaster at the left corner of the hall near the front corridor the *Mriga Jātaka* was painted, from which the figure of a stag only can now be seen. There is an inscription on this pilaster.