Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v3.c12.s42: The Mānushi Buddhas and Pairs of Yakshas and Yakshiṇīs

Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v3.c12.s42

Language: English

The Mānushi Buddhas and Pairs of Yakshas and Yakshiṇīs

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The figures are painted above the doorway in two rows, arranged one above the other. They are reproduced in colour, and for the sake of detail an enlargement (LXX) is also given.

IN the top row the seven Mānushi Buddhas and Maitreya are painted. Maitreya according to Buddhist legend will succeed Gautama. Beginning from the left side, the first five figures have dark complexions. They are clad in white robes, but the right arm in the case of the first and third figures is exposed. The first figure is shown in the dharmacakra mudrā or teaching attitude, the second in the dhyāna or meditative, the third in the abhaya or assurance, and the fourth and fifth again in the meditative attitude. Owing to religious conventionalities the features of the first four Buddhas are almost uniform, and they have curled hair with a tuft, uṣṇīṣa, on the crown of the head. The lobes of the ear are abnormally long, which feature shows another convention. The figure of the fifth Buddha is slightly slimmer,¹ but the expression of the face is the same in the case of all, and shows internal calm and peace. The sixth Buddha has a reddish or golden complexion, but his robe is of a dark material. He is also represented in the meditative mood. The seventh Buddha, Gautama, is shown in the teaching attitude, and his complexion is reddish (golden?) and his robes saffron coloured. The eighth figure, representing Maitreya, is shown wearing an elaborate crown on his head and other ornaments, such as ear-rings, necklaces, armlets, and karās (wristlets), on his body. These ornaments show that he has not yet attained to Buddhahood; but his capacity and inclination are indicated by his meditative mood and hermit-like dress.

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¹ The sculptures of the Buddhas in some caves at Ajanta and Ellora have slim bodies and differ from the conventional type, which appears to be somewhat heavy in proportion.

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All the eight figures originally had trees over their heads, and although those above the first five figures from the left cannot be identified, the trees over the last three Buddhas are clear in the fresco, and they are the banyan over the head of the sixth figure, the pīpal over the head of the seventh, and the aśoka over the head of Maitreya. Below the seats of the Buddhas the artist has painted a creeper design in order to separate the subject from the lower one, which, in contrast to the austerity of the former, betrays a jovial spirit.

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The space on the lintel has been divided into eight panels, in which merry couples are shown sipping wine, caressing, or talking in a loving manner. Their attitudes are most graceful and the faces eloquent of love. In the first four panels the male figures are swarthy and the female reddish or brunette. It has been observed elsewhere that Buddhism embraced in its folds people of all races and made no distinction of colour (varṇa), as was done by Āryan priests in earlier times. The pose of the male figure in the third panel is particularly striking (LXIX–LXX). It is as if in a love-squabble he has turned his face to one side, and his consort is looking at him appealingly and further to allay his displeasure is pressing his knee and feet with her beautiful hands.

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The figure of the lady in the fourth panel is also admirably drawn. The modelling of her head and body is perfect, showing volume combined with grace. Her complexion is dark brown, but the features are very refined and the delicate fingers, which are almost trembling, indicate a sensitive nature. She is offering a cup of wine to her paramour, who is sitting in front of her lady-love in a careless but characteristically Indian style. The fifth panel represents a pair in close embrace. The male figure in the sixth panel is damaged; but the pair represented in the seventh panel is in a good state of preservation, and the male figure is shown in an attitude of ease, leaning on a round pillow with legs stretched in front. He holds a flower in his right hand, which apparently he wants to present to his sweetheart, who is caressing his body lovingly. The features of the lady in this panel are very graceful. In the eighth panel the heads of the two figures are shown touching one another, an affectionate *tête-à-tête*.

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There were similar pairs on the jambs of the door, but nearly all of them have perished now. On the door-frame was a jewellery design, fragments of which exist on the lintel and the side-posts. The sculptures representing *yakshiṇīs*,¹ standing on *makaras* under mango trees (LXIX), show the same grace of line and beauty of form as are displayed in the adjoining frescoes. It appears that from the second century B.C. to the fifth century A.D., that is, during the entire period of the vigour of the Buddhist faith in India, the sister arts of painting and sculpture were inspired and governed by common ideals of religion and culture.

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¹ They may be identified with the river goddesses, Yamunā and Gaṅgā.