Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v4.c16.s19: The Buddha Preaching in the Tushita Heaven, with Two Other Scenes
Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v4.c16.s19
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The Buddha Preaching in the Tushita Heaven, with Two Other Scenes
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Plates XXXVIII-XL a
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*The scenes are painted on the left wall of the antechamber in Cave XVII.*
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THE miracle of the Buddha’s going up to the Heaven of the Thirty-three and discoursing upon ‘transcendental doctrine’ to the gods, and afterwards his return to ‘the world of men’ by a ladder made for him at the instance of Sakka (Indra), and finally the Buddha’s testing the wisdom of the Elder Sāriputta by putting more and more difficult questions to him one after another, and declaring the Law to the assembly, which comprised thirty crores of beings, is described in detail in the Introduction to *Jātaka* 489.¹ There is also a myth that the Buddha after his Enlightenment went up to the Tushita Heaven to teach the Doctrine to his mother, who was there. The artist of Ajanta evidently had this myth also in his mind, since in painting the first scene in which the Buddha is shown preaching the Law in Heaven the artist has given special prominence to a group of *devīs*.
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¹ *Jātaka*, iv, 166-9.
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The subject is painted at the top of the fresco, and although the portion near the ceiling has become very dark, the group of *devīs* is fairly clear; and the figures of the Buddha and his attendants and of the heavenly beings floating in the space above him, and of the *devas* who have assembled on the right side to his discourse, can also be made out. The representation of the Buddha is conventional; he is shown wearing a robe, and seated on a throne ornamented with chased metal-work or wood-carving. There are two attendants beside his throne, the Bodhisattvas Padmapāṇi and Vajrapāṇi, who can be identified by their respective symbols. Above the throne on the right side an *arhat* or some other heavenly being is floating in space, while on the corresponding side a smaller celestial being (? *gaṇa*) may be noticed. In front of the throne on the left is a *bhikshu* who has knelt down in the act of adoration. On the right side is a small figure with a broad belt round his waist who has prostrated himself to show his deep reverence for the Great Being.
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The group of *devīs* painted on the left includes ten figures; the mother of the Buddha, Mahāmāyā, is probably the figure in front, close to the throne. She is dressed in a garment of striped material, but the painting being indistinct at this place, her face cannot be made out. The features of the other *devīs* are very pleasing, and the artist, to show their beauty to advantage, has placed high lights on their foreheads, noses, lips, and chins (Plate XXXVIII and XL *a*). The pose and the expression of the *devī* next to Mahāmāyā, on the left, is particularly striking. The attitude of another *devī*, shown in the foreground, and the way in which she is looking at the Buddha, are specially distinctive. In painting two *devīs* of the group the artist apparently had in mind the dress and physiognomy of Parthian women, whose number would not have been small in the Deccan and the provinces adjoining it on the north and the west, owing to the rule of the princes of Śaka origin, styled the Western Satraps in history, over Mahārāṣṭra and Malwa up to the fourth century A.D. One of these *devīs*, at the top, on the left side, is wearing an embroidered head-dress to which is attached a veil of white gauze such as is worn by brides in European countries. She has also an ornamental band round her forehead, from which either precious gems are hanging in the form of drops, or else her hair has been dressed in clusters so as to assume the same form. The head-ornaments of the other *devī* of this couple are also worthy of notice. Both of them are of a very fair complexion, while the other *devīs* of the group are either swarthy or quite dark.
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On the right side the fresco is considerably damaged, but five figures representing gods may be made out, two of whom can be easily identified—Indra by the third eye in his forehead, and Brahma by his plaited hair dressed like that of a *yogī*. A little below, two more figures may be traced, one of a *deva* dressed in a striped robe and seated on a cushion, and another of a celestial being floating above the earth, although he has evidently entered the divine court through the gate on the right side, half of his body being inside the court and half in the gate and beyond. Near the jamb of the gate another figure may be descried, kneeling low towards the ground.
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The second scene, representing the descent of the Buddha from heaven, is painted in the middle of the fresco (Plates XXXVIII and XXXIX). The celestial ladder of the *Jātaka* is represented by five steps, which are not one above the other but are arranged sideways, one step being in the middle and two on each side of it. The Buddha is dressed in an orange robe, and his right hand is lowered towards the earth in the *Bhūsparśa mudrā*. He is represented as emaciated, and this is doubtless because it is related that before his Enlightenment Gotama kept fasts and underwent other austerities. There are nine divinities around him, who are either wearing crowns or have their hair plaited and dressed in the shape of a crown. Two of these are holding fly-whisks and may be identified as the Bodhisattvas Padmapāṇi and Vajrapāṇi. Of the remaining seven figures one surely represents Indra, since he is wearing a high bejewelled crown and his third eye of omniscience is visible in his forehead. The corresponding figure on the right side may be that of Brahma, for his hair is plaited in the style of the hair of the *yogīs*. The remaining five figures may represent either the other gods of Buddhist mythology or the five monks who were the first to be taught the Law by the Buddha.¹
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¹ Regarding the conversion of these five monks, see E. Thomas, *The Life of Buddha*, pp. 82 ff., and H. C. Warren, *Buddhism in Translations*, pp. 342 ff.
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The third scene of the series is the most impressive. The Buddha is shown in the middle, seated on a richly carved chair² and leaning on a round bolster which is placed behind his back on the chair. He is dressed in an orange-coloured robe, and the position of the fingers of his hand suggests the teaching attitude (*Dharmachakra mudrā*), which the artist has further confirmed by painting the ‘Wheel of Law’ symbolically on the palm of the right hand of the Great Being. An ornamental halo may be noticed behind the head of the Buddha, from the oval disk of which rays of glory are emanating. These rays have been shown by the artist as delicate spiral scrolls. Above the chair of the Buddha two cherubs (*vidyā-dharis*) are shown as if descending from heaven, the idea of their descent being suggested by a cluster of conventional clouds painted around them. They hold garlands of pleasing design in their hands which they are offering to the Great Being. On either side of the chair stand two princely attendants, wearing crowns but holding fly-whisks in their hands. The features and the posture of these attendants are very graceful, and as one of them holds a flower and the other a *vajra* they may be identified with Padmapāṇi and Vajrapāṇi. Two small figures dressed in white embroidered coats and wearing globular caps (?helmets) with ornamental designs have bent low in deep adoration of the Master.
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² The figures of alligators carved at the top of the back of the chair show fine workmanship. There are also two diminutive figures of men, dressed in tight coats and breeches, and wearing conical caps, carved along the sides of the back of the chair.
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On either side of the chair of the Buddha are shown magnificent processions of rājās, rānis, and chiefs riding on richly caparisoned elephants and horses. They are coming in a spirit of receptive humility and modesty, as is indicated by their poses, with an earnest desire to learn the Doctrine from the Master. In the company of the votaries who have already assembled on the left side, one king is prominent; he may be Bimbisāra, who had expressed much eagerness to learn the Truth from Gotama after his Enlightenment.¹
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¹ The *Mahāvastu* adds two verses in a different metre containing Bimbisāra’s request and Gotama’s promise that he will return and preach the doctrine ‘in his kingdom’. E. Thomas, *The Life of Buddha*, p. 69. See also *ibid.*, p. 92, where the visit of Bimbisāra with a great host of citizens and the king’s conversion by the Buddha are described in some detail.
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On the right side at the bottom of the fresco is a company of seventeen monks, one of whom is painted of a slightly larger size than the others, and for this reason he may perhaps be identified with the Elder Sāriputta, whose wisdom and perspicacity the Buddha made known to the congregation by putting successively more and more difficult questions to him.² The next prominent figure in the group, dressed in a striped robe, may represent Moggallāna, second in rank to Sāriputta among the chief disciples of the Buddha.³
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² According to the *Jātaka* (iv, 169) one of the questions put by the Buddha to Sāriputta was, ‘What is the meaning of matter in all its bearings?’
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³ For further information regarding these two famous disciples, see the *Dhammapada Commentary*, i, 88 ff.; the *Aṅguttaranikāya Commentary*, i, 155 ff.; and *The Life of Buddha*, 94–96.
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Apart from the identification of the historical and legendary personages which has been attempted above, since the assemblage on both sides of the Buddha’s chair portrays in an illuminating manner the pomp and glory of kings, the various elements of the population, and the religious attitude of the people, it will perhaps be of interest to the reader if the painting is described in some detail. Beginning from the left side, almost in the middle of the fresco, two elephants may be noticed who have raised their trunks to adore the Great Being. The heads of the elephants have been drawn with great care; the large, fan-shaped ears, the small, twinkling eyes, and the great waving trunks all combine to present an imposing picture of the extraordinary features of the animal. To add to the majestic appearance of these elephants the artist has decorated their foreheads and necks with pearl and gold ornaments and placed tufts of hair of yak's tail over their ears. There are six men on the backs of the elephants who appear to be the drivers and keepers, since none of them is wearing a crown or is dressed in a style suitable to the dignity of a prince or a chief. The two men in front, who are probably *mahāvats*, are saluting the Buddha. Behind the elephants there are some soldiers of the escort who hold poles with long flags and tassels. Three spears may also be noticed which have banners attached to them. Near the trunks of the elephants are two attendants, one of whom holds the royal umbrella.
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By the side of the elephants is a pair of white horses, whose arched necks and decorated manes suggest stateliness combined with pomp. Their heads and ears are also decorated with tufts of hair, probably of yak's tail. The riders upon these horses are foreigners, apparently belonging to countries to the north-west of India, since Gandhāra and the provinces adjoining it remained under the influence of Buddhism for a long time during the early centuries of the Christian era. One of these foreigners has a beard, but the chin of the other is shaved, and only his twisted moustache can be seen. There are two more foreigners, wearing round fur-brimmed caps and embroidered coats. They hold staffs or straight swords in their right hands, and have placed their left hands on the hilts of these weapons in such a manner that they may rest on them by putting their chins on the backs of their hands (Plates XXXIX-XL).
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Below the pair of white horses are four guards, all holding naked swords which are of a curved shape. The features, the styles of dressing the hair, and the clothes of these guards differ, showing the artist's love of variety. Of these guards two in front are armed with shields as well, but these also are not of uniform design, one of them being oval in shape and the other rectangular. In front of the guards is the group of princes, comprising five elderly personages and one boy, who may be the son (*yuvarāja*) of the king who has been identified as Bimbisāra in the group (*ante*, p. 68). The boy's young face expresses both innocence and religious ardour. The chief above the young prince is again a foreigner, as is indicated by his features, cap, and dress. People of such features may still be seen on the borders of Baluchistan and Afghanistan. The remaining four princes are all wearing crowns, but designs of these differ, and the style of hair-dressing also varies in each case.
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On the corresponding side, to the left proper of the Buddha, is a group of monks whose hair (excepting that of a few in the back row) is close cut. They have joined the palms of their hands together and stretched them forward in the act of adoration, and are looking with wonder and astonishment at the Buddha. Above the company of monks there are three or four horses with rich trappings, befitting the dignity of a prince. The rider on the horse shown in front is apparently a foreigner, judging by his dress. Above the horses a large elephant may also be noticed upon which a *rānī* is seated adoring the Buddha. There is a party of attendants around the *rānī*, all of diminutive size, evidently suggesting the extraordinary height of the elephant. The *rānī* is seated on a low chair placed on the back of the elephant. Among the attendants of the *rānī* there is a lady who may be seen at the back. Close to her is a child, who has stretched out his hands to catch something in front. The designs of the flags and of the tops of the poles to which they are attached are worthy of notice (Plate XXXVIII). The design of the headgear of a male attendant painted a little above the elephant exhibits the freakish temperament of the artist in presenting extraordinary styles.
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The most important feature of this fresco, apart from its deep religious significance and magnificent artistic detail, is its wonderful composition. Each part of the subject emerges with regular rhythm and poise, and joins with the main theme without any abruptness or incongruity.