Object Response #5
Ashante K. Charles
Ms. Johansson
Monday, November 5th, 2018
Chapter Nine: Early Arts in Asia
Bodhisattva Wall Mural Painting
The artifact I have chosen to analyze is a detailed wall painting from the Gupta Period, the Gupta period originally surfaced from an ancient kingdom in India, and they encompassed a variety of art forms derived from both regions of northern and southern India. This painting was discovered in one out of many caves located in Ajanta, Maharashtra. This cave in Ajanta inhabited a variety of painted murals dating back to the Gupta period. The murals were created to illustrate the various depictions of Buddhas. The name Bodhisattva is derived from the notable illustrations that embody the riches and lavishness of Bodhisattvas that were depicted predominantly in Buddhism art. Bodhisattva is a prestigious and divine figure because it was significant to the culture of Buddhism, that is nirvana. Nirvana is the act of transcendence of all things that affect the mind, body, and soul for the benefit of the other people.
The style of painting used in this piece is Fresco, a technique that uses the medium plaster, either wet or dry. The painting is composed of warm and cool colors: deep shades of mahogany, blues, browns, and gold. The Bodhisattvas is interlaced with jewels on its nearly bare figure. Their hand is raised into ritualistic hand gesture that denotes Vitarka Mudra, one of many hand positions practiced in several forms in Hinduism, for instance, yoga which it is often integrated into. This gesture commonly signifies teachings, “intellectual debate.” (Stokstad, 343) This depiction has several connotations, however, in this context, the idea of intellectual debate is portrayed. Intellectual debate is often accustomed to Buddha’s who have transitioned into, “enlightened beings” (Stokstad, 344), and since this sign has a relationship with yoga which is an art of meditation, this is symbolic of Buddha’s spiritual and mental shift into their awakening. This wall painting is intriguing because of the enriching details and tones of color used, although the painting is slightly faded since its a surviving piece of artwork, it makes it even more interesting to look at and investigate.
Altogether, through my observation of this painting, a few questions have surfaced, such as, what type of plaster was used for this mural? Was this plaster formed wet or dry? Are there other representations of Bodhisattvas? Are Bodhisattvas only portrayed in Fresco? Did these Bodhisattvas have names or were they generalized in these artworks? Who was assigned to create this mural painting?
REFERENCES
Stokstad, Marilyn. “Art of India 1200.” Art History, (v.1 2nd revised ed.) pg. 343, Pearson Prentice Hall, 2004.
Stokstad, Marilyn. “Art of India 1200.” Art History, (v.1 2nd revised ed.) pg. 343, Pearson Prentice Hall, 2004.
Stokstad, Marilyn. “Art of India 1200.” Art History, (v.1 2nd revised ed.) pg. 345, Pearson Prentice Hall, 2004.
