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, rear wall,
the two depictions of the
‘Bodhisattva King in a
Mountainous Landscape’ theme,
which are popularly, and perhaps
incorrectly, termed ‘Padmapani’
and ‘Vajrapani’. Monika Zin
(2003) perhaps rightly questions
the nomenclatures, for the so-
called Padmapani holds no
padma (its a different flower with
slender petals). Padmapani in the
middle of the mundane activity.
Padmapani towers over
paraphernalia, head held high
among the cloudy hills, yet
unconscious of the majestic
surroundings, his figure is
peerless grace, dissolves, as it
were, in infinite compassion for
the living world in sympathy with
its miseries with a promise of
deliverance.
Ajanta Cave 1, interior, rear wall, A gandharva couple is
watching the Bodhisattva from the hill abode.
A couple of kinnaras, celestial musicians, plays on
instruments- the male on a lute and the female on
cymbals- in honour of Bodhisattva.
Ajanta Cave 1, interior, the peahens are painted
blue with Lapis Lazuli
Ajanta Cave 1, interior, the Kinnaras or the celestial musician, making music or worldly pleasures which are
distraction towards the Path of Knowledge. Note the foliage.
Ajanta Cave 1, interior, Padmapani and his consort
ASTAMAHABODHISATTVA: THE EIGHT GREAT BODHISATTVAS IN ART AND LITERATURE

Though there are innumerable Bodhisattvas in Mahayana Buddhism, there is a group of eight Bodhisattvas, known as
the Ashtamahabodhisattva. They are
Kshitigarbha,
Sarvanivarana-vishkambhin,
Manjusri,
Vajrapani,
Maitreya,
Samantabhadra,
Avalokitesvara and
Akasagarbha.
The literal meaning of the word Bodhisattvas is the attainment of Buddhahood (i.e. Bodhichitta), which can be called
the unified state of prajna (insight) and karuna (universal compassion).
A Bodhisattva aims at the acquisition of anuttara samayaksambodhi (the supreme and perfect bodhi), mahabodhi
and sarvajnata (omniscience).
A Bodhisattva acts as a teacher to both the Sravakas and Pratyeka-Buddhas.
To the Sarvakas, he preaches the doctrine associated with the four noble truths and that of the doctrine of the
dependent origination aiming at the transcendence of birth, disease, old age, death, and ending at nirvana.
The Mahayana phase of Buddhism distinguishes the Bodhisattvas in two kinds: earthly and transcendental.
The former kind is distinguished by its insistence upon compassion and altruism as well as upon the attainment of
enlightenment. While the latter have realised the paramitas (various degrees of perfection) and attained the
Buddhahood but have postponed their entry into the state of complete nirvana. They are in possession of perfect
wisdom, no longer belonging to the samsara.

A Bodhisattva must follow certain conduct, duty and practice in order to attain at least the major paramitas.
Among these practices are:
dana (alms),
sila (righteousness),
kshanti (forbearance),
virya (energy, dhyana (rapt musing),
prajna (wisdom),
upaya or upaya-kausalya (skilfulness),
pranidhana (resolution),
bala (strength) and
jnana (knowldege).

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

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

Sarvanivaranavishkambin, also known as Vishkambhi, was the spiritual son of Akshobhye. But the Northern school of
thought holds that Vairochana was his spiritual father. His other attributes include the full moon and a book placed
on lotus flowers. He is well-known in India and China.

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

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

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

Avalokitesvara is the most popular and important of all the Mahayana Bodhisattvas because of his many virtues, especially his
compassion for all the sentient beings and his deep involvement in their welfare. He took a vow that he would not at nirvana
until all the sentient beings are delivered from suffering. His common attributes are the lotus, nectar vase and the Amitabha
(his shine) on his crest.

In the Sadhanamala, the Bodhisattvas have been described in a variety of forms and names such as Shadakasari Lokesvara,
Simhanada Lokesvara, Khasarpana Lokesvara, Lokanatha, Rakta Lokesvara, Nilakantha, Amoghapasa and Chintamani-chakra.

Akasagarbha, also known as Khagarbha, is regarded as the essence of the ether belonging to the Ratnesa family. Akasa and
kha mean the sky or boundless space. He is described and represented in many ways. The Sadhanamala describes him 'as
green as the sky.' He holds the Chintamani jewel and displays the varada mudra. The Ashtamahabodhisattva Mandala with
Buddha in the centre symbolically explains the significance of Mahakarunika Buddha and the vows and attainments of the
eight chief Bodhisattvas to carry out the noble mission of the master. The Mandala concept is common to Mahayana
Buddhism and Tantric Hinduism. As is well known, Buddhism in course of time came closer to Hinduism and developed
certain feature based on popular forms of worship.
Ajanta Cave 1, interior, rear wall, the two depictions of the
‘Bodhisattva King in a Mountainous Landscape’ theme, which
are popularly, and perhaps incorrectly, termed ‘Padmapani’ and
‘Vajrapani’. Monika Zin (2003) perhaps rightly questions that the
Vajrapani holds no vajra.
King bringing flowers for the Bodhisattva

Below the dark princess and the attendant

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

At the center is the serpent-king listening to the

Sermon of an ascetic, once the king of Magadha, Duryodhana.
In the gathering a woman in th eleft foreground intently listening
to the sermon. On the right is the Sankhapala in his serpent form.
Sankhapala Jataka, Sankhapala resued by Allara
Notice the contrast in the two figure- regal and crude.
Allara has hair curls with Sankhapala has the serpent hood.
Chaddanta 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 palash
tree
The wooden seat is in conventional style
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 Jataka
Three movements
of the hunter
Kneeling before the
Bodhisattva before
he himself removes
the tusks and hands
over.
While leaving the
hunter looks back
and leaves with the
tusks
Ajanta Cave 17
Chaddanta Jataka
The hunter brings the
tusks to the palace and
presents them to the
royal couple, seeing
which the queen faints
Ajanta Cave 17
Detail of Vessantara Jatak
Veranda, left of entrance
Mendicants are gathered to
receive alms.
Of particular interest are the
square umbrellas
Ajanta Cave
17
Detail of
Vessantara
Jataka
Palace scene
Part of the
story also
painted in the
ceilling
Ajanta Cave 17
Vessantara Jataka
Prince Vessantara was banished for an act of over-
generosity not approved by the king’s father and the people
alike. Watched by sad attendants, the prince and his
consort Maddi are seen here leaving the palace on exile. A
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-
window.
Ajanta Cave 17
Vessantara
Jataka Here,
the prince tries,
with gentle
caresses, to
cheer up his
wife, who is
distressed over
the news of his
impending
banishment.
Sibi Jataka: Tale of King Sibi, hawk and pigeon
Ajanta Cave 1 front wall: 3.Sibi Jataka
Sibi Jataka weighing himself
Notice the architecture and
the plants.
The story occurs also in
Brahmanic and Jain
traditions
 Sibi Jataka, Indra (Sakra or Sakka) & Agni (?)

Sibi Jataka, the onlookers- The prince and Princess

The 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
Gautama under the pipal tree in Dharmachakra pavartana mudra and crowned Maitreya Bodhisattva under
Ashoka tree, extreme right of the row The Maitreya is the only one who is yet to descend to the earth amd
to attain Buddhahood by leading the people to the path of salvation.
Ajanta Cave 17
Part of Worship of
Buddha
The god Indra
gracefully glides down
through the clouds
with his retinue of
celestials which
includes musicians to
worship Buddha
To the right is a flutist,
whose hairstyle is of
interest
Ajanta Cave 17
Part of Worship
of Buddha
On the top right
is a kinnara
couple with
human torsoe
but bird-like
tails and claws
floating amidst
rocks.
Ajanta Cave 17
Part of Worship of Buddha
Among the celestials proceeding to pay homage to
Buddha is a Yaksha-couple flying through clouds.
Touching gesture, the woman holding the man
Ajanta Cave 17
Flying Apsara, in the veranda to the right of the
doorway
Her movement is visibly captured in the
ornaments of the lady
Epitome of sophistication and fashion
Remarkable are the narrow eyebrows