Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v4.c16.s6: The Buddha Preaching to the Congregation: First Sermon or the Great Miracle (?)

Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v4.c16.s6

Language: English

The Buddha Preaching to the Congregation: First Sermon or the Great Miracle (?)

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*The subject is painted on the right wall of the veranda, above the cell-door.*

THE subject, the Buddha preaching to the Congregation, based on the First Sermon, or the Great Miracle, mentioned in the legend, must have assumed popular versions according to the fancies of the traditionalists of later times, and it was in view of such considerations that Foucher identified this subject, as well as the scene painted on the back corridor of Cave XVI, with the Great Assembly (*Mahāsamaya-sūtra*), which is also represented in the bas-reliefs of Bharhut.³ The subject is here represented in a highly conventional form, the Buddha being shown sitting on a richly carved chair, with his hands held together in the in an opposite direction, but looking back towards the Buddha, one of his eyes being wide open and the other partly closed, showing a squint. The drawing of the hand and other limbs of the *gandharva* is excellent. In front of the Buddha is a prince listening to the sermon of the Great Being with attention, as is shown conventionally by the loop which he has made with the fingers of his left hand. Lower down, the figure of a princess may be noticed, who has joined her hands to show respect to the Buddha. The drawing of this figure also is very good, and an expression of devotion is apparent in her gaze.

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³ *Ajanta*, iii, 60, Plate LVIII, also *Jour. Hyd. Arch. Soc.*, No. 5, 1919-20, pp. 88-89.

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*Dharmachakra mudrā* (the teaching attitude), and surrounded by votaries, including princes, *devas* (?), *arhats*, and *gandharvas*. The artist has given full play to his imagination in the designs of the crowns worn by the princes represented on the left side of the Buddha. There are as many as twenty-one princes, and the crown and jewels of each differ according to his rank; but they are all very artistic in shape and finish. Among the jewels of these princes pearl ornaments are in abundance, but pendants of emerald and jewellery set with other precious stones, notably sapphires, may also be noticed. The artist, with a view to showing that these princes hail from different parts of the country, has given them varying complexions, dark brown, dark grey (clayey), and greenish, the last being conventional, representing chieftains of the forest tribes.

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The votaries on the right side comprise eight more princes, or *devas*. Their bright eyes and fixed gaze at the Buddha show their devotion to the Great Being. They are also wearing crowns and rich jewellery, in which rubies (red stones) are prominent. Some of the crowns have a conical design. Behind these princes or *devas* there are belts of conventional hills, above which seven *arhats* may be seen flying towards the Buddha. Their hair is plaited and arranged in the *jaṭā* style (Plate VIII *b*). Their stern features indicate that they had led a life of renunciation in their previous existence, and they are all clad in short *dhotis* with red stripes. On the corresponding side, to the left of the Buddha, is a group of *gandharvas*, but owing to the deterioration of the painting their figures cannot be made out in the reproduction.

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The most artistic feature of this painting is a pair of pea-fowl sitting on a ledge, to the left of the flying figures of the *arhats*. The poses of these birds show not only close animal-study, but a highly refined taste in the graceful undulating lines of their necks, bodies, and plumage. One bird has slightly turned its neck, and is looking up at the *arhats* flying in the air. Its wings are inclined to a different plane from its body, while the tail-feathers spread towards the ground in yet another direction. The line of axis thus moves from plane to plane (VIII *b*). The representation of the other bird is equally attractive. It has turned its neck towards the Buddha, as if in an attitude of meek reverence, and has placed its beak on the lower jaw of the crocodile carved at the back of the Buddha's chair, on the right side. Both conception and execution exhibit art of the highest order, such as perhaps was never subsequently attained in India.

Cites (2)

Mahāsamayasūtra — Sanskrit
Bharhut