Later Buddhist Art
Artist: unknown
Title: Ajanta, Cave 1, right of interior antechamber entrance, Padmapani
(Avalokiteshvara) Bodhisattva.
Material: polychrome mural using primarily mineral pigments on clay base
Site: Ajanta, Maharastra, India
Current Location: Ajanta, Maharastra, India
Period/Date: 5th century C.E.
Iconography/Iconology: Padmapani (Avalokiteshvara) demonstrates a Buddha's
compassion (karuna). He is one of a pair of bodhisattvas demonstrating the
wisdom and compassion qualities of a Buddha's enlightenment.The other Bodhisattva
is Vajrapani who demonstrates a Buddha's wisdom (prajna). The paired bodhisattvas
demonstrate the essence of the actions that a person must make to attain
enlightenment. They must develop their wisdom to put their compassion to
use effectively. Once the two components are fully developed in the same
individual they are prepared for enlightenment. The Buddha figure in the
interior shrine of this cave is essentially flanked by these two bodhisattvas,
an overt portrayal of his attainment.
Stylistic Comments: The thrice-bent position of the body is much more accentuated
than representations in sculpture of the same period. This suggests that
the painting idiom was a more dynamic and fluid visualization than that
of sculpture. It also suggests that painting may have led the way for later
sculptural trends. Indian mural painting of the 5th century used techniques
that were already of great antiquity and that continue to the present day
among the painters of Asia. The wall surface was prepared with a clay plaster
mix, spread thinly and burnished. An under-painting with red iron oxide
line was used to lay out the major elements of the composition. With that
finished, bold, flat colors were applied to the appropriate areas. Shading
and details were also added and the painting was then outlined in black
by a master artist. The final step in the process was the "opening
of the eyes" that was carried out in a ceremony that invoked the deity
into the image. The actual painting of the pupils was meant to convey the
living presence of the deity within the image, and as such could be done
only after the invocation.
