Lord Buddha Returns to Kapilvastu

Lord Buddha Returns to Kapilvastu

Ajanta Caves, Gupta Period,5th Century CE

         The news has spread that Prince Siddharth as Buddha was returning to his native city, Kapilvastu. His wife, Yashodhara decided to take their son, Rahul  to the Buddha. She taught the child to ask for his inheritance. The Buddha says, "I have only my alms bowl which I can give to you as your inheritance. " Both the mother and child look at the Buddha. Yashodhara had decked up herself with the hope that she would be able to induce the Buddha to stay back and become a householder.  But all in vain. Buddha left Kapilvastu in order to preach the Dharma to the people.  

         Although greatly damaged, this fresco is considered one of the most poignant paintings of Ajanta Caves.  Siddharth 's family meets momentarily and parts ways. The dilemma is between the life of monkhood and of a householder.  Which is more appropriate.  The issue is between the right of a wife and a child to have the husband and the father back, and the right of a man to be free to preach his Dharma. Unlike Hinduism, Buddhism emphasised the life of a monk over the life of a householder. Perhaps this was one of the reason that Buddhism declined. If everyone becomes a monk,  how would the society survive? 

          Society is a mixture of the intellectuals and the labourers, of the aesetic and the householder, of the industrialist and the agriculturalist. It is a composite of different communities, different philosophies, different life - styles.  To impose one philosophy or brand of thinking is to tear the social fabric. The middle path of assimilation is the right path. Too many monks also spoil the stew! 

Hamsa Jataka : A Tale of the Golden Ghoose

Hamsa Jataka : A Tale of the Golden Ghoose

Ajanta Caves,Gupta Period,5th Century CE

            Once upon a time the Bodhisattva lived as a golden goose in a lake with his flock. One day the Queen of Benaras had a dream where she saw a golden goose. She asked the King to get her the golden goose. He built a beautiful lake in order to attract the birds. One day the golden goose landed with his flock. The goose realised it was a trap to capture him. But he kept quiet till the flock had fed itself to its satisfaction.  Afterwards, the goose cried out about the danger. All the geese flew off. But Sumukha, the minister of the golden goose refused to leave his master. Both were caught and taken to the court. When the King heard about Sumukha' s loyalty towards his King, he was overwhelmed.  He received both of them with great honour. The golden goose taught the Dharma to the court. 

            Here we see the King with his courtiers listening to the golden goose with rapt attention.  The golden goose is sitting on a throne to the bottom right corner of the painting.  Faintly one can make out  two dark women who have brought a tray full of fruits. The pomp and show of the court is well portrayed in the attire, the jewels and the furniture of the court. 

            Loyalty is a virtue exhaulted by every civilisation : loyalty to family, friends, community and to the nation. Sumukh is an example of loyalty to the King and thus to the nation. 

            Further, in order to attract best ideas we have to create the right environment.  Only then do we receive the Dharma. We should be open to receive ideas from all corners of the world. After all, the court had received the sermon on Dharma from a bird! 

Mrig Jataka : Taking Away the Golden Deer

Mrig Jataka : Taking Away the Golden Deer

Ajanta Caves,Gupta Period,5th Century CE

           A golden Deer, a Bodhisattva,  found  a hunter lost in a jungle.  He guided the hunter to his village. He told the hunter not to reveal his existence to anyone. The hunter promised to do so. But the moment he reached his village, he informed the King's men. They informed the King. Meanwhile the Queen saw a golden deer in her dream. She told the King to search for the golden Deer. The hunter led the King into the jungle. The golden Deer was captured and brought before the King. The King was astonished when the Deer told him that the hunter had broken his promise.  The King ordered that the hunter be killed. But the Deer interceded and asked the King to spare the hunter's life. The King relented. The King told the Deer about the Queen's dream and asked the Deer if he would return with him to the court. The Deer left with the King. He taught the Dharma to the people and brought peace and prosperity to the kingdom.  

           In this painting we see the Deer being carried away in a cart. The hunter follows the cart. Notice the dog by the hunter's legs. A rare depiction of a dog in Indian art.

         The story is full of morality. It is about betrayal for money; it is about greed. It is about compassion;  it is about establishing Dharma ( righteous duties). 

          Deepavali is also about establishing Dharma over Adharma  (evil acts). We must preserve,  protect and propagate Dharma, the golden Deer.

Kapi Jataka: The ungrateful Hunter

Kapi Jataka: The ungrateful Hunter

Ajanta Caves,Gupta Period, 5th Century CE

           Once a hunter fell into a deep ditch in a forest. He shouted for help as he could not come out of the ditch. The Bodhisattva who was a golden monkey took pity. He pulled the hunter out and carried him through the forest on his back. As night fell, both slept on the forest floor. In the morning when the hunter got up he thought if I could kill this golden monkey , I could earn a lot by selling his skin. He threw a stone on the monkey 's head. The injured monkey ran to the lake near by and washed his wounds. The hunter followed him. Feeling thirsty,  the hunter drank from the lake. Since the monkey's blood had mingled with  the water, the moment the hunter drank the water, he became a leaper. He was shunned by others in the village. 

            Here we see the monkey sleeping on the forest floor and the hunter about to hit him with a stone. The injured monkey admonishes the hunter on the left side of the painting. 

           Many a times we hurt others out of greed or jealousy or anger. But we don't realise that by our ungrateful acts we are hurting ourself and our interests. We may see ourselves as winners, but slowly people shun our company. Instead, we should be grateful to those who have carried us through the difficult terrains of life. Rather than think that by hurting them, we will gain wealth and fame. We will only become an outcaste like the hunter.

The Buddha and the Elephant Nalagiri

The Buddha and the Elephant Nalagiri

Ajanta Caves,Gupta Period, 5th Century CE

           Buddha's cousin brother, Devadatta was jealous of him. He conspired with King Ajatshatru of Rajagraha to have Buddha trampled by a mad elephant when Buddha comes to Rajagraha.  They got the mad elephant Nalagiri drunk and let him go scott free on the lane where Buddha was coming. Nalagiri charged at the Buddha.  Unmoved, and ever smiling the Buddha gently patted Nalagiri. Overcome by Buddha's compassion and kindness, Nalagiri bowed and touched Buddha's feet. 

           Here although Buddha's head is missing, but we do see a dark hand gently caressing the huge elephant.  The people in their homes are awestruck by Buddha's power to overcome a mad elephant.  One person even folds his hands in reverence. 

           Problems are like the mad elephant. They come our ways. We just need to be detached and calm to tackle them. With compassion and kindness even our enemies can be won over. It is these two qualities of Buddhism which spread the religion from India to Japan. One doesn't need the sword to conquer; a beautiful smile is sufficient to disarm the mighty and the unruly. 

The Loyalty of an Elephant towards His Blind Mother

The Loyalty of an Elephant towards His Blind Mother

From the Matriposhaka Jataka, Ajanta Caves, Gupta Period,5th Century CE

          Once the Bodhisattva was born as a white elephant.  One day a hunter was lost in the jungle where the white elephant lived. The elephant took the hunter back to his village. The hunter, instead of being grateful to the white elephant, thought that he should tell the King of Benaras about the existence of the white elephant and earn a reward from the King. The King sent a few hunters into the jungle. The white elephant was brought to the King's court. A huge crowd had gathered to see the white elephant.  But when the King tried to feed the elephant, it refused all food. The King asked him why he was starving himself. The elephant told the King, " I have a blind mother who cannot eat without me. Then how can I eat without her? She must be starving in the jungle." Hearing the love and affection, sensing his loyalty towards his mother, the King freed the white elephant. Here we see the joy amongst the elephant upon the return of the white elephant. The blind mother elephant is caressing the white elephant. 

           The story is not just about the joy of a family reunion, but it is more about family loyalty. However, loyalty in a positive way. It is about sustaining each other emotionally and financially.  But it is not about hoarding things so as to leave riches for our children. As an old Sanskrit saying goes " why leave riches for a good son? He can earn on his own. Why leave riches for the bad son? He will squander away your hard earned wealth." 

            But like Dhrastraraj we are blinded by our love for our children. For their sake we harm our society and nation without realising that without a strong nation our next generation has no future. While we strengthen our family economically, we weaken our nation.

The Elephant and the Hunter from Shaddanta Jataka Story

The Elephant and the Hunter from Shaddanta Jataka Story

Ajanta Caves, Gupta Period,5th Century CE

             In the Himalaya lived an elephant with six tusks, Shaddanta.  He had two wives. One day he showered his first wife with the flowers of the Sal tree. He also presented her with lotus flowers from a lake. The second wife felt jealous. She vowed to take revenge by being born as Queen of Benaras. 

            As the queen of Benaras she feigned illness. She told the king that she can be cured only if she had the six tusks of Shaddanta.  Hunters were sent to capture him and to bring his tusks. Here we see the hunters around the huge Shaddanta.  He asked them as to purpose of their hunting him down. They told him about the queen's desire. Knowing who she really was and what was her purpose, Shaddanta, the Bodhisattva,  himself cutoff his six tusks with an axe  and gave them to the hunters. When the Queen saw the six tusks, she was full of remorse. For, she remembered Shaddanta, her loving husband from her previous life. She died of grief. 

             At times out of jealousy and anger we do tend to take revenge. But such anger boomerangs on us. Anger kills us and not the person with whom we are angry. Thus, the need to control these two emotions. For they lead to self - destruction. 

            On the other hand, by compassion we can win people over. Like Shaddanta we become a hero. The choice again  is ours. 

Scene from the Simhala Avadana Jataka Story

Scene from the Simhala Avadana Jataka Story

Ajanta Caves,Gupta Period, 5th Century CE

               The story of Simhala, the merchant's son, is quite instructive. Simhala sought his father's permission to travel abroad and to establish his business overseas.  But he, along with others, we're shipwrecked on the island of Tamradvipa. The island was inhabited by cannibalistic ogresses who disguised themselves as beautiful women.  Here we see Simhala sitting in a tent with a stunningly beautiful woman, an ogress.  Having lured the shipwrecked merchants, the ogress makes a meal out of them. Seeing their pathetic condition, a Bodhisattva in the form of a flying horse rescues many of the merchants including Simhala.  Simhala comes back home. But an ogress follows him to his Kingdom.  She appears before the King and tells him that Simhala has abandoned her and her child in an island. She asks for justice. Simhala tells the King that she is, in fact, an ogress who should be banished from the kingdom.  The King refuses to do so. At night the ogress invites her other friends from the island. They kill the King and the people. The kingdom is destroyed. 

           Similar story is also found in Homer's Ulysses.  

           The story is a warning about how beautiful ideas creep into a Kingdom,  how these innocuous ideas takeover the kingdom and destroy it. But these ideas are like the  Trojan Horse which we bring into our Kingdom with jubilation and fanfare. Only to realise how these ideas of exclusiveness, of 'we' versus 'them' have eventually torn the fabric of our society and nation. The great destruction by such 'beautiful ideas' leaves the nation desolate and destroyed. Like Simhala we should be discerning enough to banish such 'beautiful ideas' from amongst our midst. 

Mambers of the Public

Mambers of the Public

Ajanta Caves,Gupta Period,5th Century CE

            Besides the Buddhist figures, the Kings and Queens of Jataka stories, the common man also invited the attention of the Ajanta artists.  Since the artists were themselves common man, they had the sympathy for their own fellow beings. Thus, the members of public were drawn with sympathy and care. 

            Here we see two persons who have approached a person in authority. Although the stand with a sense of dignity, they are about to address their problems.  Thus, they are about to supplicate. That they are from a rich class is well depicted from their attire and jewelery.  They may be businessman. 

             The relationship between the political power and the business class is an ancient one. It is a symbiotic relationship.  While the business class oils the politicians, the latter protects the interests of the former. This relationship has been commented upon both by Machievelli and by Chanakya.  

             The Dharmashastras teach that the King is like the father figure,  the citizens like children.  Thus, it is the duty of the King to look after the interest of the people.  But this has rarely been done in history. The common man is merely the subject of political speeches, but not the subject of our policies.  He is like the prayer beads which we twirl for our personal gains. It is only the artist who can capture the agony and the extacy of the common man.  The political class is oblivious of their pain and pleasure. The political climate may warm up, like the global climate,  but it doesn't reinvent itself into something new.

Queen Shivali from the Mahajanak Jataka

Queen Shivali from the Mahajanak Jataka

Ajanta Caves,Gupta Period, 5th Century CE

           Besides painting innumerable Buddhas and Bodhisattvas, the Ajanta artists have left a variety of sensuous women. Queen Sivali is certainly one of them. Young, voluptuous,  bejewelled, half nude, she is the ideal of feminine beauty in Indian art. Since women were seen as representing the Nature, they had to be well endowed in their beauty. Queen Sivali belongs to the category of Yakshini  ( the fertility goddess ). 

            But the queen is not free from the pangs of life. Her husband, King Mahajanak of Mithla, has just announced his intention to abdicate the throne and to take Sanyas  ( to renounce the world and to become a buddhist monk). The Queen is perplexed by the decision.  Her well kept hair are becoming dishevelled;  her string of pearls has started swaying as she takes deep breath (notice the two pearl strings in front of her stomach ). She looks at her husband in half disbelief. 

             Life can be uncertain at the best  of the times. Sorrow can come suddenly.  The cheeze can be moved without any notice. Even the rich and the beautiful, even the powerful and regal are subject to the whims and caprice of life and Time.

Lord Indra with His Entourage

Lord Indra with His Entourage

Ajanta Caves, Gupta Period,5th Century CE

           As Buddhism spread it enveloped the Vedic Gods in its pantheon. But the mighty Vedic Gods were reduced to the status of guardians and door keepers. The Buddha and the Bodhisattvas held an exhaulted position than the Hindu Gods. From the 2nd century BCE to 6th Century CE Hinduism waned in India. 

           Here we see Lord Indra flying with his entourage of Apsaras ( divine dancers) and Gandharvas ( divine musicians ). The rippling effect in blue colors are the monsoon clouds. When the monsoon finally arrives, after the hot summer, it comes with cool breeze, like soothing music, and with dancing clouds. It just  not only brings the rains, but  more importantly ushers in joy and celebrations.  The monsoon season is the season of love and fun, of celebration and bliss. Lord Indra, as the God of rain, could not be ignored even by the Buddhist.  He is a god of Nature. 

           The monsoon has attracted the imagination of the Indian artists. Kalidas, the most  famous Indian writer in Sanskrit literature, composed Meghadoot  ( the Cloud Messenger), and celebrated the beauty of monsoon. Other poets, like Keshavdas,  have written about the monsoon in their poems on Barahmasa  ( the Twelve months ). To the Kangra painters the dark bulbous clouds were a symbol of the force of love and passion which brooks no bound. 

           Today we speak about the different kinds of clouds, but now the clouds are dry and drifting. The romantic notion, the idea about resurrection of life has been drained out. Caged in glass and concrete we are losing touch with the beauty of Nature. The great Vedic Gods are a forgotten lot in Post - modern society.

The Monkey and the Buffalo

The Monkey and the Buffalo

 Ajanta Caves,Gupta Period, 5th Century CE

          Jataka stories contained lots of wisdom in the form of folklore.  Here is the story of a mischievous monkey who would close the eyes of a buffalo who was a Bodhisattva. The monkey would play with him all day. One day another buffalo stood in place of the kind buffalo. The monkey mistook him to be the kind buffalo.  He closed the eyes of the buffalo.  The buffalo was enraged. He threw the monkey down and gorged him to death. 

           The fable is both about compassion and anger. It is also about genuine gurus and fake ones. We get entangled with fake gurus and are gorged to death. It is also about trusting and not trusting the people. One should be careful in choosing the right kind of friends. A wrong company can lead to injury and death. 

          Through simple stories complex messages were given to the common man. The stories are relevant even today as they contain the wisdom of ages. 

Dancers and Musicians

Dancers and Musicians

Ajanta Caves,Gupta Period,5th Century CE

            Dance has an ancient ancestry in India. Said to originate from Lord Shiva,  it is a sacred art which began in the temples and ended in the market.  The "Dancing Girl " from Indus Valley Civilisation  (2500 BCE) is the first glimpse of this art form in India.  In 2nd Century BCE  Bharat Muni is said to have written the first book on Dramatology called the Bharat Natya Shastra.  He dealt extensively with dance. 

            Dance is an expression of joy, of love, of celebration.  It is part of human nature. The movement of the body frees the mind from its captivity and releases myriad energies. According to the Darwishes it is a medium of communication with God. 

           To the Indian dancer, dance is a form of worship  where the dancer surrenders himself/ herself to the diety.  It is a sublime prayer. 

            But here we see a court dancer entertaining King Mahajanak in a Jataka story. While the dancer sways to the music of flutes, drums and cymbals, the ladies orchestra plays on. Although stitched clothes were an exception in ancient India,  but here the dancer is in a tunic. Surprisingly the musicians are all women. This painting is a testimony of the talents of our women and of the liberal attitude of the society to permit women to learn music. 

            But slowly the classical dance and music are fading away, just the way this painting has faded away.

Bodhisattva Vajrapani

Bodhisattva Vajrapani

Ajanta Caves, Gupta Period, 5th Century CE

          While Bodhisattva Padmpani is the embodiment of compassion, Bodhisattva Vajrapani is of power and force. According to his name, he is the weilder of the thunderbolt  (Vajra). Thus, he is the symbol of brute force of Nature.  One who destroys evil by brute force. Surprisingly for a dynamic figure, the image is rather placid. In his hand, he holds an unclear object. Although in Ajanta he is depicted as a graceful, quiet, peaceful figure, in Tibetan, Chinese and Japanese Art he is a ferocious figure. 

            Both the Bodhisattvas depicted the twin aspect of Man: the rational and the irrational or as the Greeks called it the Apollonaire  ( named after God Apollo, their God of wisdom and poetry) and Dionysian  (named after God Dionysus,  their God of wine). Psychologists also deal with these two aspects of human nature, the constructive and the destructive.  

              History too is a witness to such impulses. While Dara  Shikho, the elder son of Shah Jahan, championed compassion and unity of the Mughal Empire, Aurangzeb advocated fundamentalism and terrorism. The fundamentalist forces won the royal battle near Dholpur: the Mughal Empire was shattered in few decades. The choice is ours whether to encourage the irrational and the destructive forces, or to strengthen the liberal and constructive forces. 

Bodhisattva Padmpani

Bodhisattva Padmpani

Ajanta Caves,Gupta Period,5th Century CE

           The most famous face of Ajanta is Bodhisattva Padmpani. He is Prince Siddharth in his palace, in deep contemplation. He is the Bodhisattva of compassion.  

           The Bodhisattva has travelled the world over. When Bodhisattva Padmpani went from India to China, he underwent a sex change. In China he is the goddess of Compassion,  Kuan  Yin. The fact that Kuan Yin was a male diety is reflected by the fact that Kuan Yin is flat chested. 

           Compassion is central to Buddhism.  If the universe is created by a power, all the creation is His/ Her handiwork.  We are all created equal. We should, therefore, treat every one with same level of love, respect and dignity as we treat ourself. Compassion is what unites the universe in a single entity. It is the bonding force which keeps the civilisation united; it is the only path to peace and prosperity, the path to Nirvana. 

Visvantara Jataka ( Story of Prince Visvantra)

Visvantara Jataka ( Story of Prince Visvantra)

 Ajanta Caves, Gupta Period, 5th Century CE

          Ajanta is known more for its frescoes than for its sculptures.  The discovery of the caves in early 19th century was an eye opening event. Till then, no one knew about paintings of ancient India, though paintings were mentioned in Sanskrit literature.  The discovery of Ajanta led to the emergence of the Bengal School of art founded by the Tagore family. 

         The paintings in Ajanta depict the Jataka stories --tales about the previous births of Lord Buddha. He is said to have narrated all his previous births. The stories are moral paradigms for people. They emphasise love, compassion, sacrifice,  pity,  generosity. 

         Prince Visvantra was a generous person to a fault. When Kalinga suffered a famine, he gave away his magical elephant who could bring the rains to Kalinga.  His own people were enraged, as Kalinga Kingdom was their enemy. The people demanded that the Prince be banished from the kingdom.  

         In this painting, Prince Visvantra is shown in his palace with his wife, Madri. They are busy in dalliance. On the left side, we see the couple leaving the city. The cruel Brahmin,  Jujuka, prays to the Prince to give him the two young children of the Prince, so the children can look after the physically challenged Brahmin. The Prince parts with his children as well. 

          This is one of the finest paintings of Ajanta.  The multiple narrative is interesting.  The artist has caught different strata of society : from the Prince and the Princess to the servants in the bedchamber to the ordinary citizens looking out of the window seeing the Prince leaving the city to the Brahmin who intercepts the Prince and the Princess. The naturalness of the beetle nut trees in the background lends naturalism to the otherwise stylised painting. 

           The story highlights the importance of compassion, even for one's enemies; it emphasises sacrifice of the political leader for the welfare of the people. It stresses on equanimity  despite the sudden change of fortune: from palace to forest. These Jataka stories continue to be relevant for our modern life as well. 

The Temptation of Mara

The Temptation of Mara

Ajanta Caves,Gupta Period, 5th Century CE

            Generally the walls of a Chaitya Halls are covered with beautiful paintings.  But there is one hall which has beautiful sculptures all around the apse.  The Archeological Survey of India, which maintains the Ajanta Caves, has beautifully illuminated the sculptures. The sculptures cover various events of Buddha's life.  

            While Buddha sat in deep meditation, he was tempted by Mara, a demon. Mara sent his army of goblins to torment Buddha; he also sent his beautiful daughter to tempt Buddha. We see his army of goblins in the right; his beautiful daughters in the front. But despite the torments and temptations, Buddha was steadfast in his meditation

             Temptation is part of human nature. We easily get tempted by material things or by sexual desire. Thus, temptation finds mention in all the major religions of the world. While we meditate the unconscious fears and desires come out. This is depicted in myths, and the art as temptation.  

            A hero is one who does not succumb to temptation.  Many of us abandon our duty to be honest and yield to the temptation of material wealth. We give into corruption.  A nation, like a person, who gives into temptation, can never reach Nirvana. 

A Pillar from Ajanta Caves

A Pillar from Ajanta Caves

Gupta Period,5th Century CE

         While the three types of pillars invented by the Greeks are well known,  the variety of pillars invented by the Indian architect has hardly been explored. And what a variety of pillars we have: from the massive round pillars of Indus Valley to the simple pillars of Sanchi, from the ornate pillars of Ellora to the hanging pillars of Lepakshi Temple in Andhra Pradesh. There are pillars in animal forms in South Indian Temples to the musical pillars of the Padmanabhan temple in Trivendrum.  There is the gallery of 1000 pillars in the Rameshvaram Temple to the 1000 pillars of Ranakpur Temple in Rajasthan --and no two pillars are alike ! But the ingenuity of the Indian architect is forgotten. 

            Here is a pillar from Ajanta. The Ajanta Caves themselves have about ten types of pillars. The beauty of this pillar is not only it's simplicity,  but also the use of sculpture in the square. The sculpture depicts a young couple chatting with each other while two servants stand by. The sculpture not just captures the opulence of the golden age of Indian history, the Gupta Period,  but also contains a political message : all is well in the Gupta Empire. If couples have time to chat, then there is peace and prosperity in the Empire. Since a happy family is essential for the prosperity of the society,  the family had to be emphasised. No other pillar in the world carries a more socio-political message than this pillar in Ajanta. 

          These days we do chatting, but no longer in the cosy surrounding of a family. The family as a social unit is under danger. Perhaps we need to learn something from the ancients. 

Nagraj and His Wife ( The Royal Couple : The King and Queen of the Snakes)

Nagraj and His Wife ( The Royal Couple : The King and Queen of the Snakes)

Ajanta Caves,Gupta Period, 5th Century CE

            Buddhism borrowed heavily from Hinduism. As Hinduism spread throughout India,  it assimilated the local gods and tradition. Since the snake was a threat and a boon, it was worshipped in large parts of India, specially in the South.  The King of the Snake is considered the guardian of the village. Small shrines of Nagraj are generally found outside the villages. Since the snake has the ability to shed it's skin, he also symbolises resurrection of life, or the ability to change oneself. Since it crawls on the ground, he also symbolises desire. Thus, it stands for myriad symbols.

            Here we see a pensive Nagraj sitting with his consort. The Queen is attentively looking at the Nagraj. Perhaps, the Nagraj has decided to renounce the world and is about to take refuge in the Buddha. He too seeks enlightenment and Nirvana.  It is a crucial moment when a difficult decision is to be taken. Prince Siddharth must have undergone the same anxiety when he was contemplating leaving his wife and son.

            To achieve greatness we have to sacrifice our interests. The path to Nirvana is a difficult and arduous one. Only a few can successfully complete this journey.

                     "To be or not to be, that is the question?"--to quote Hamlet. 

Facade of a Cave in Ajanta

Facade of a Cave in Ajanta

Ajanta Caves,Gupta Period, 5th Century CE

             Indian art, at times, deals with contradictions.  Here in the facade of a cave the artist has juxtaposed Kuber sitting with his bag of gems with a large size standing Buddha. The message is loud and clear: the wealthy versus the mendicant. The grahasthi  ( the householder ) versus the aesetic.  While Hinduism has emphasised on the householder by depicting the Trinity of Brahma, Vishnu and Mahesh  (Lord Shiva) as married gods, Buddhism has emphasised the monkhood.  Renunciation and detachment are essential  to Buddhism. Although detachment is emphasised in Hinduism,  but renunciation is underplayed. Buddhism, in a sense, is individualistic.  For each individual is on his inward journey of trying to find his own path to Nirvana. Hinduism, on the other hand, is a religion which emphasises on the community and on our duty towards the community.  Since Man is a social animal,  Buddhism is a more difficult religion to follow than Hinduism.  This may explain the decline of Buddhism in India. 

             Although Buddhism has almost disappeared from India,  it has left an undeniable imprint on Indian art and philosophy.