Ajanta paintings

based on Buddhist Mythology

 Subjects of Phase II Painting
Based on Buddhist Mythology
• Bodhisattvas (Cave 1)
• Various Jatakas
• Row of Buddhas (Cave 2)
Ajanta Cave 1, interior, r
the two depictions of th
‘Bodhisattva King in a
Mountainous Landscape
which are popularly, and
incorrectly, termed ‘Pad
and ‘Vajrapani’. Monika
(2003) perhaps rightly q
the nomenclatures, for t
called Padmapani holds
padma (its a different flo
slender petals). Padmap
middle of the mundane
Padmapani towers over
paraphernalia, head hel
among the cloudy hills,
unconscious of the maje
surroundings, his figure
peerless grace, dissolves
were, in infinite compas
the living world in symp
its miseries with a prom
deliverance.
 Cave 1, interior, rear wall, A gandharva couple is
ng the Bodhisattva from the hill abode.
ple of kinnaras, celestial musicians, plays on
ments- the male on a lute and the female on
ls- in honour of Bodhisattva.
anta Cave 1, interior, the peahens are painted
ue with Lapis Lazuli
anta Cave 1, interior, the Kinnaras or the celestial musician, making music or worldly pleasures which are
straction towards the Path of Knowledge. Note the foliage.
anta Cave 1, interior, Padmapani and his consort
MAHABODHISATTVA: THE EIGHT GREAT BODHISATTVAS IN ART AND LITERATURE

gh there are innumerable Bodhisattvas in Mahayana Buddhism, there is a group of eight Bodhisattvas, known
shtamahabodhisattva. They are
igarbha,
nivarana-vishkambhin,
usri,
pani,
eya,
ntabhadra,
kitesvara and
agarbha.
teral meaning of the word Bodhisattvas is the attainment of Buddhahood (i.e. Bodhichitta), which can be calle
nified state of prajna (insight) and karuna (universal compassion).
dhisattva aims at the acquisition of anuttara samayaksambodhi (the supreme and perfect bodhi), mahabodhi
arvajnata (omniscience).
dhisattva acts as a teacher to both the Sravakas and Pratyeka-Buddhas.
Pratyeka
e Sarvakas, he preaches the doctrine associated with the four noble truths and that of the doctrine of the
ndent origination aiming at the transcendence of birth, disease, old age, death, and ending at nirvana.
 Mahayana phase of Buddhism distinguishes the Bodhisattvas in two kinds: earthly and transcendental.
former kind is distinguished by its insistence upon compassion and altruism as well as upon the attainment of
ghtenment. While the latter have realised the paramitas (various degrees of perfection) and attained the
dhahood but have postponed their entry into the state of complete nirvana. They are in possession of perfec
dom, no longer belonging to the samsara.

odhisattva must follow certain conduct, duty and practice in order to attain at least the major paramitas.
ong these practices are:
a (alms),
(righteousness),
anti (forbearance),
a (energy, dhyana (rapt musing),
na (wisdom),
ya or upaya-kausalya (skilfulness),
nidhana (resolution),
(strength) and
a (knowldege).

se doctrines became extremely popular in the arts, literature and thoughts of the lands of the propagation of
dhism such as in Afghanistan, Central Asia, China and Japan besides, of course, India.
 of the Ashtamahbodhisattvas is designated one of the eight directions. However, they are not comparable to
adikpalas, for the Bodhisattvas protect the eight principal quarters for sake of dharma so that no evil can com
any quarter to disturb the preaching of dharma. The book contains detailed iconographic description of each
Bodhisattva.

igarbha is known as Di-zang

zang in China, and Jizo in Japan. He has certain feminine traits, for he is an earth-
earth
hisattva as the name, earth-womb indicates.

anivaranavishkambin, also known as Vishkambhi, was the spiritual son of Akshobhye. But the Northern schoo
ght holds that Vairochana was his spiritual father. His other attributes include the full moon and a book place
tus flowers. He is well-known in India and China.

jusri, one of the most important Bodhisattvas of the Mahayana pantheon, bears a sword for destroying ignora
holds the Prajnaparamita book that symbolises transcendtal knowledge. Manjusri is best known for his wisdo
ntellect and he occurs frequently in the Dunhuang Art.

pani, or Sakra, has a twofold role. In the Hinayana texts, he is an attendant of Buddha while in the Mahayana
ography he is a Dhyani Bodhisattva and an emanation of Akshobhya with his Sakti being Lochana. With his
derbolt, he appears as a constant attendant of Buddha to crust every enemy.

reya or the loving one is the future Buddha who is the only Bodhisattva venerated by both the Hinayanists an
Mahayanists. He is a symbol of hope for deliverance in the future.
 igin of the Samantabhadra cult is obscure. The chinese pilgrims visiting various Buddhist countries seldom me
He came into prominence in the fifth century after the translation of the Cheng F-Hua-Ching
F (i.e. Dharmaraksh
n of theLotus). In inconography, he wears not only a crown but he is also dressed up in a princely attire. In Jap
as Fu-gen.
gen. He is a very popular figure in Chinese and Japanese art.

itesvara is the most popular and important of all the Mahayana Bodhisattvas because of his many virtues, esp
ssion for all the sentient beings and his deep involvement in their welfare. He took a vow that he would not a
l the sentient beings are delivered from suffering. His common attributes are the lotus, nectar vase and the A
ine) on his crest.

Sadhanamala, the Bodhisattvas have been described in a variety of forms and names such as Shadakasari Lok
nada Lokesvara, Khasarpana Lokesvara, Lokanatha, Rakta Lokesvara, Nilakantha, Amoghapasa and Chintamani

garbha, also known as Khagarbha, is regarded as the essence of the ether belonging to the Ratnesa family. Ak
ean the sky or boundless space. He is described and represented in many ways. The Sadhanamala describes
as the sky.' He holds the Chintamani jewel and displays the varada mudra. The Ashtamahabodhisattva Mand
a in the centre symbolically explains the significance of Mahakarunika Buddha and the vows and attainments
hief Bodhisattvas to carry out the noble mission of the master. The Mandala concept is common to Mahayan
ism and Tantric Hinduism. As is well known, Buddhism in course of time came closer to Hinduism and develo
n feature based on popular forms of worship.
Ajanta Cave 1, interior, rear wall, the two depictions of th
‘Bodhisattva King in a Mountainous Landscape’ theme, w
are popularly, and perhaps incorrectly, termed ‘Padmapa
‘Vajrapani’. Monika Zin (2003) perhaps rightly questions
Vajrapani holds no vajra.
King bringing flowers for the Bodhisattva

Below the dark princess and the attendant

ankhapala Jataka: The Serpent-king
Serpent
 Cave no. 1 Part of Sankhapala Jataka
1.47 x 1.13 m

nter is the serpent-king listening to the

f an ascetic, once the king of Magadha, Duryodhana.
thering a woman in th eleft foreground intently listening
mon. On the right is the Sankhapala in his serpent form.
Sankhapala Jataka, Sankhapala resued by Allara
Notice the contrast in the two figure-
figure regal and crude.
Allara has hair curls with Sankhapala has the serpent hood.
haddanta Jataka
Ajanta Cave 17
Chaddanta Jataka
Front wall, left of entrance
Bodhisattva Chaddanta with his herd of elephants
Ajanta Cave 17
Chaddanta Jataka
The hunter and a monkey under a pa
tree
The wooden seat is in conventional s
and perspective
Like hills, rocks or architecture, the
geometry of the form is emphasized
A creeper entwine the tree
Ajanta Cave 17
Chaddanta Jataka
A row of several ants on the palash tree
Observant artist, sympathetic towards nature
Ajanta Cave 17
Chaddanta Jat
Three moveme
of the hunter
Kneeling befor
Bodhisattva be
he himself rem
the tusks and h
over.
While leaving t
hunter looks ba
and leaves with
tusks
Ajanta Cave 17
Chaddanta Jatak
The hunter brings
tusks to the palac
presents them to
royal couple, see
which the queen
Ajanta Cave 17
Detail of Vessantara Jatak
Veranda, left of entrance
Mendicants are gathered
receive alms.
Of particular interest are t
square umbrellas
Ajanta
17
Detail o
Vessan
Jataka
Palace
Part of
story al
painted
ceilling
Ajanta Cave 17
Vessantara Jataka
Prince Vessantara was banished for an act of over-
over
generosity not approved by the king’s father and the
alike. Watched by sad attendants, the prince and his
consort Maddi are seen here leaving the palace on e
beggar, with a crooked staff, is present to text his
generosity of the prince. A couple, probably the royal
parents, witness the scene of departure from palace-
palace
window.
Ajanta C
Vessant
Jataka
the princ
with gen
caresse
cheer up
wife, wh
distresse
the new
impendi
banishm
Sibi Jataka: Tale of King Sibi, hawk and pigeon
ta Cave 1 front wall: 3.Sibi Jataka
Sibi Jataka weighin
Notice the archite
the plants.
The story occurs a
Brahmanic and Jai
traditions
 Sibi Jataka, Indra (Sakra or Sakka) & Agn

Sibi Jataka, the onlookers- The prince and Princess

he Left wall (from left) 1. Sankhapala Jataka and 2. Mahajanaka Jataka
Few other notable scenes
Ajanta Cave 17 porch left wall
Phussa, Vipassi, Sikhi, Vessabhu, Kakusandha, Konagamana, Kassapa, and
Gautama
autama under the pipal tree in Dharmachakra pavartana mudra and crowned Maitreya Bodhisattva u
shoka tree, extreme right of the row The Maitreya is the only one who is yet to descend to the earth a
attain Buddhahood by leading the people to the path of salvation.
Ajanta Cave 17
Part of Worship
Buddha
The god Indra
gracefully glide
through the clo
with his retinue
celestials which
includes music
worship Buddh
To the right is a
whose hairstyle
interest
Ajanta C
Part of W
of Buddh
On the t
is a kinn
couple w
human t
but bird-
tails and
floating
rocks.
Ajanta Cave 17
Part of Worship of Buddha
Among the celestials proceeding to pay homage to
Buddha is a Yaksha-couple
Yaksha flying through clouds.
Touching gesture, the woman holding the man
Ajanta Cave 17
Flying Apsara, in the veranda to the right o
doorway
Her movement is visibly captured in the
ornaments of the lady
Epitome of sophistication and fashion
Remarkable are the narrow eyebrows