Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v3.c12.s32: The Buddha in the Teaching Attitude

Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v3.c12.s32

Language: English

The Buddha in the Teaching Attitude

*The scene is painted on the back wall of the cave to the left of the shrine, between the first and second cell-doors. As the fresco is much damaged, an outline of the drawing is reproduced in addition to its photograph in monochrome.*

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THE fresco at first sight appears to be a dark patch on the rock-wall, but the eye on a close scrutiny can trace the drawing of many figures, which have survived the ravages of time and the depredations caused by bats and insects. In the middle of the painting is the figure of the Buddha, seated on a royal chair, similar in design to the one described in the account of the last fresco (*supra*, p. 56). His feet rest on a lotus, the stalk of which is held by two *nāgas* in a brisk buoyant attitude, expressing their religious fervour. There are two attendants, the one towards the left holding a rosary, and the other, towards the right, a *vajra*. The heads of these two figures are missing, but from the above symbols they can be identified with certainty. The one holding the rosary is the Bodhisattva Avalokiteśvara, while the one holding the *vajra*, the double three-forked prong, is the Bodhisattva Vajrapāṇi.¹ On both sides of the principal figure of the Buddha there are standing figures, either representing the Buddha himself or the Bodhisattvas. As the upper parts of these figures are missing, it is impossible to identify them. In the background of the painting, to the left of the seated Buddha, there are some lovely lotus-flowers near the figure of the votary.

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¹ *Ajanta*, i, p. 35.

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In the lower part of the fresco, on either side of the chair of the Buddha, there are groups of votaries representing two different classes. Those on the left are of a princely class. The male figure nearest to the throne in this group is wearing a jewelled crown. His head is inclined in an attitude of respect, which is also confirmed by the devout expression of his face. By the side of the latter was apparently his wife, who has joined her hands in the act of adoration. Behind this royal pair there are six more figures, among which one representing a lady is better preserved. Her elegant features and soft innocent looks show high artistic skill, and it appears that the fresco is of the same period as the subject entitled The Dying Princess. To the left of the figure of this lady another representing a guard can be made out. He holds a short curved sword in his hand. As the other figures of this group are damaged considerably, it is difficult to study their artistic detail.

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On the other side of the Buddha’s chair, the nearest figure to him represents a lady in a state of amazement, as indicated by the gesture of her hand. In this group, however, the most striking figures are those of hermits, drawn on the right side of the fresco. Among these, the one at the bottom is wearing a patched tunic and has a skull fixed to his head-gear. The gesture of his right hand shows that he is trying to grasp what the Buddha is saying. Behind the hermit is a woman holding a staff in her left hand and listening with rapt attention to the sermon of the Buddha. Above the last two figures is another representing a hermit with a bald head. He also holds a long staff in his hand. Behind the latter, on a higher level, is another hermit, who is dressed in a cloak of striped material. Figures of two more hermits can be made out in this group, but as their heads are missing, their expressions cannot be judged.

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The scene may be identified with the preaching of the Buddha in the Tushita Heaven, in which case the congregation on the left side shows Indra (Sakka) and his retinue; while on the right the hermit with the skull in his head-gear may represent Śiva (?), or some Buddhist deity associated with such an emblem. But if the Elephant Procession, painted adjoining this subject towards the right, is to be associated with it, the entire scene would represent the visit of Ajātaśatru to the Buddha in the Mango Grove, which is reproduced at both Bharhut and Amaravati.¹ The group towards the left, according to the latter identification, would represent Ajātaśatru and his wives, who accompanied him when he waited on the Buddha to confess his sin and seek absolution.

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¹ *The Life of Buddha*, by Thomas, Plate IV, and *The Buddhist Stupas of Amaravati and Jaggayyapet*, by Burgess, Plate XXII. The story is given in some detail in the *Digha Nikāya*, tr. by T W. and C. A. F. Rhys Davids, vol. i, pp. 65-95.