Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v3.c12.s34: The Buddha Preaching to the Congregation

Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v3.c12.s34

Language: English

The Buddha Preaching to the Congregation

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*The subject is painted in the back corridor to the right of the shrine above the third and fourth cell-doors from the left. It is reproduced in monochrome.*

As the fresco is damaged, like the others in this corridor, the figures are not quite clear in the photographic reproduction (Plate LVIII). Still, the representations of *bhikshus* and several personages wearing crowns can be made out. In the original fresco twenty figures can be traced on the left side of the Buddha and six to his right. Further there are two attendants holding fly-whisks, one on each side of the Buddha’s chair, and two votaries near his feet. Such parts of the figures as are intact show the skill of the artist in modelling, the use of high lights, and the indication of shade by washes of a deep colour. He has also succeeded in giving a devout expression to the members of the congregation, as if they were listening with much attention to the Master’s sermon. The mysterious effect of the sermon on the mind of the votaries has also been exhibited by the gesture of their fingers; for example, the figure near the foot of the Buddha’s chair, towards the left, has made a loop. As in this scene almost all the figures are either wearing crowns or are dressed as *bhikshus*, it has been suggested by some scholars that the drawing represents the Buddha’s preaching in the Tushita Heaven, and the congregation comprises the *devas* of that heaven.¹

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¹ Regarding this scene Monsieur A. Foucher’s opinion may also be quoted: ‘It is more likely that we have here as at Bharhut an illustration of the text of “the Great Assembly” (*Mahāsamaya-sūtra*) where all the supernatural beings met to pay homage to the Teacher.’ *Jour. Hyd. Arch. Soc*, 1919-20, pp. 88-9.

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The carving on the chair of the Buddha is more elaborate than on the chairs shown in Plates LVI *a*-*b* and LVII *a*, and a novel feature of the dragons’ heads in the back of the chairs is that instead of tongues lolling out from their mouths, thin serpents are leaping forth. The figure of the Buddha is much damaged, but the right shoulder and arm show vigorous modelling. In this fresco, the figures being of considerable size, their artistic detail can be better appreciated.²

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² To the left of this subject, between the shrine and the third cell-door, there is a procession-scene which is not reproduced in the plates because of its being in a very damaged condition. Such figures as can be made out are described here. Commencing from the left side, first there is a soldier holding a sword and a shield. The latter has the head of a monster carved on it. Next to the first soldier there is another carrying a curvilinear shield of rectangular shape. A third soldier has a spear in his hand, and as the figure of the fourth is damaged in the fresco his weapon cannot be made out. The fifth soldier has a shield with a ‘bogie’ head. He is armed with a spear. The sixth warrior also holds a shield, and the seventh a flag. The last is of a dark brown complexion, but his head is missing. There are also some figures of women shown in the scene. Two of them are quite distinct; one is of a pinkish complexion and the other holds a round vessel. Above the figures of the soldiers there was the representation of an elephant whose trunk may still be traced.