Name: Boddhistava Padmapani
Artist: unknown
Medium: fresco
Place: Ajanta cave no.1
Period: 5th century A.D.
Courtesy: archaeological survey of India
This painting in cave no.1 shows a Bodhisattva who will soon become Buddha. Bodhisattva here is standing in an attractive pose Tribhanga pose with a blue lotus in his hand. The other hand extended in the space is creating a sense of movement. The elegant features high forehead and elongated eyes looking downwards giving an expression of dignity and calm meditation. Eyebrows are joined at the centre. He has bold shoulders modelled softly with a merging outline giving volume to the body and creating a three-dimensional effect. the torso is round with delicate and rhythmic lines to define the curve. There are highlights on cheeks, sharp nose and chin as well as on the arms and breasts. Jewellery indicate his royal birth. He wears a pearl necklace and a big intricate crown made with sapphire. The long string diagonally worn over the left shoulder across the chest and falling below the right arm is shown with the fine spiral lines. The beads from the centre of his necklace are bigger and decrease in size towards the neck. His left arm has a ribbon tied above the elbow. the cloth around the hip resembles a dhoti of striped silk worm in ascetic style.
Colours are unknown and earthy. Light red, brown green and blue colours are used. Inwards shading of the outline gives fullness to the bodhisattva appearance. Surrounding him in smaller less important depiction are: his disappointed wife standing by his side touching her heart, Mara demon attacking, playful monkeys, birds and kinnara (a mythological creature, half human half bird). Despite all this unrest around him he is detached.
The bodhisattva is depicted as an enlightened being is who is about to achieve final nirvana. Filled with karuna (kindness and care) he looks at the world of suffering and rebirth and on all the beings who suffer in it. on his journey to nirvana he is presented as a faithful and adorable being whose goal is to comfort and calm all beings.
Name: Mara Vijay
Artist: unknown
Medium: stone
Place: Ajanta cave no. 26
Size: 10×12 feet
Courtesy: archaeological survey of India
Period: 5th century A.D.
This sculpture in chaitya hall cave number 26 shows Mara and his armies the resignification representations of doubts and desires that distracted Buddha from time to time. Mara Vijay means victory over the god of lust, depicting the confusion in buddhas mind on the journey to salvation.
The panel shows the story with the image of buddha in the centre surrounded by Mara army along with his daughters. Buddha is shown pointing towards earth as a witness to his generosity with his right hand. Mara on an elephant accompanied by his demon force including some with animal face is attacking buddha from his right. in foreground the daughters of Mara are trying to tempt buddha by dance and music. the dancing figures at lowers base with the musicians have a building waist and one of the dancing figures has spread out her hands in a dancing posture. On the left lower end, the image of Mara is shown thinking as how to disturb Gautama before enlightenment’s army of Mara is shown marching towards buddha in the first half of the panel whereas the lower half of the panel shows the withdrawing army of defeated Mara. The centrally placed buddha is in Padmasan and a tree at the back is shown with help of dense leaves.
This relief sculpture panel has all energetic and voluminous figures in its complex compositions. All events show dynamic movement. the Ajanta artist were masters in portraying feminine emotions and grace. The female figures are depicted in different postures and gestures of frustration and guilt.