The paintings date back to second century BC and even though they could be found in only few of the caves (cave 1, 2, 16, and 17), they are all over the cave except for the floor. At many places, this amazing pictorial artwork has been eroded due to decay and human interference. Most of these paintings are fragmented and one can’t see the whole picture depicted in a large scenic painting. It is said that these paintings are the narratives of the Jataka tales, tales from Buddha’s time, which help devotees to learn Buddha’s teachings.
Well, I am not an expert (or even a novice) in Buddha’s teachings nor do I know much about Jataka tales. But, as an admirer of art, I was simply amazed when I saw such a superb piece of art which was being created 2000 years back. There was complete darkness in these caves to preserve the paintings from further deteriorating from sunlight. Few fluorescent lights were directed towards these paintings so that they would become visible to the viewer’s eyes. Such darkness was imparting an enigmatic glow to the entire atmosphere. Below is my take on these paintings; what I felt when I looked and relooked at them many times over. I would like to stress here to the point that these are not expert comments but are just the feelings of an art lover.
Painting 1 & 2 – Vajrapani and Padmapani: Two of the greatest paintings in Ajanta; Vajrapani - Bodhisattva holding diamond in his hand (as in Sanskrit - Vajra – Diamond, Pani- Hand) and Padmapani - Bodhisattva holding lotus in his hand (as in Sanskrit - Padma – Lotus, Pani- Hand) are visible as you enter the first cave.
Have a look at the calm and composed look on both the faces. Now look at their eyes; you would see a serene of peace within them. They are half-closed as if he is meditating. But then if you see the surroundings of the picture, Vajrapani and Padmapani both are surrounded by many of their followers / devotees. This gives the picture another dimension. In the midst of the crowd, Bodhisattva had the spiritual power to meditate as if no one is around him. These eyes reminded me a famous sher written by Momin, the famous Urdu poet, which goes as below:Tum mere paas hote ho goya
Jab koi doosra nahi hota
[The Urdu poet is telling the God: You are always so near to me as if there is nobody around]
The eyes show a sense of modesty and equanimity. One must remember that the Bodhisattva himself was a king in his own right. So, such modesty is a rare phenomenon amongst the kings of any era. The eyes also show a feeling that comes when somebody abstains from worldly pleasures – one who doesn’t care about the joys, excitements, fears, sorrows, and pains of life.Now, look at his slightly bent posture in both the forms. It is a yogic posture; a posture taken by a Guru when he is imparting the knowledge and devotion (Dnyana and Bhakti), in the hearts of his devotees, men or women. Bodhisattva never differentiates between a man and woman or for that matter between a human being and animal, giving them equal rights to gain knowledge and perform devotion. This is clearly visible from the kind of devotees you see around both the paintings.
Why is such a saintly form of Bodhisattva carrying a diamond or lotus in his hand? Lotus is a symbol of peace and harmony. Lotus is also a symbol of the universal win of good over bad. As lotus comes out of mud, Bodhisattva is telling his disciples that nothing is a waste. A mud has the power to give life to and grow a beautiful lotus flower. So, the key thing is that even if you are bad you can change yourself to generate better results.
Diamond symbolizes purity and brightness. Bodhisattva wanted to give the necessary wisdom, so pure and bright as sunlight, to his disciples that none of his followers can lose their track towards achieving ultimate peace. In both the forms, the disciples are so eager to learn as much as you can from your Guru and it shows on their humble yet eager faces.
Overall, both these paintings, drawn adjacent to each other in cave no. 1, are a magnificent piece of universal pictorial art and their teachings hold good even in this era.
Vibrant and distinct colors used in adjacent paintings:
See the distinctive color scheme used in adjacent paintings in cave no. 1 in Ajanta. While one has a greenish shade, the other is in reddish – orange color. This is a plain photo without a single modification

There are a couple of other photos of paintings which I could take. More about them in my next blog.
Next: Decoding the expressions of few of the amazing Ajanta paintings - 2


