Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v3.c12.s31: Flying Figures (Apsarases?) and the Buddha in the Teaching Attitude
Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v3.c12.s31
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Flying Figures (Apsarases?) and the Buddha in the Teaching Attitude
v3.c12.s31.1
Plates LV *b-c* and LVI *a-b
v3.c12.s31.2
*These subjects are painted to the right of the fourth cell-door. The frescoes being in a damaged condition, they are reproduced in monochrome only.*
v3.c12.s31.3
THE first of these subjects (LV *b*), painted above the figure of the Buddha towards the left, is a male figure, representing a *gandharva* or a *yaksha*, both of whom according to the Buddhist legend possess power to fly in the air.² The figure is drawn in black and white with considerable grace, particularly the fingers, which show both beauty of form and a sensitive nature. In the left hand the *gandharva* holds a tray which is made of a large leaf of the lotus or some other plant. In the tray flowers may be traced in the original fresco, which the *gandharva* has brought as an offering to the Buddha.
v3.c12.s31.4
Above the figure of the Buddha on the right side is a pair, of which the female, the *apsaras*, is intact (LV *c*). Of the other figure, only the loin-cloth and a portion of one of the legs are visible, the rest of the drawing having completely perished. The figure of the *apsaras* is drawn in black and white and suggests movement. The modelling is good, and the decorative detail, such as that shown in the coiffure, is also pretty. The eyes, however, are much too large for the face.
v3.c12.s31.5
The figure of the Buddha, which is drawn below the last two subjects, is shown seated on a chair of elaborate design. It has dragon-heads at the back, elephant-heads near the arms, and figures of lions with human heads near the legs (Plate LVI *a-b*). The lions show similarity to their prototypes in Assyria, which is not unusual, for winged monsters, bell-shaped capital, and crenated parapet, of Persian design, are frequently noticed in the early sculpture and architecture of the Deccan. The figure of the Buddha is much damaged, but his hands are intact, and they show that he is represented in the teaching attitude. The feet rest on a full-blown lotus-flower, the stalk of the plant being held by two *nāgas*, a king and a queen. There are two attendants, one on each side of the chair of the Buddha. One of these attendants is apparently male and the other female, as indicated by the *dhoti* (loin-cloth) of the figure on the left and the *ghaghrī* (skirt) of the figure on the right. The heads of these two attendants are missing, but such parts as are intact show a stereotyped form of art.