83665065 ajanta caves

Paintings of Paintings of

Ajanta CavesAjanta Caves(2nd century BC to

6th century AD)

S. Swaminathan

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Intr

oduc

tion

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Ajanta is a great art treasure.

Its caves are a fine example of rock-cut architecture.

They contain some exquisite sculptures, and more importantly,

paintings of unrivalled beauty.

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In these caves can be seen the development of Art

from early phase of the pre-Christian era,

reaching classical perfection,

falling off into mannerismand then to baroque ornamentation

and, finally, lapsing into artistic decline

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Ajanta is a storehouse of information about the period:

costumes,

textile design,

jewellery,

musical heritage,

social order,

court etiquette,

ideas of beauty and morality,

customs and

sense of wit.

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The paintings tell us about the technical aspects of their art:

preparation of the ground,

execution of the painting itself,

with sense of perspective, space division,

colour-overlay,

preparation of the pigments,

harnessing of the visual and tactile senses

and pacing of the narrative.

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The Ajanta paintings are the earliest surviving paintings of India, religious or

secular.

The spirit of Ajanta influenced the religious art

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In fact, the Ajanta painting tradition is truly an indigenous religious art tradition.

The Buddha and His disciples were Indians.The Indian artist did not have to make a translation from foreign to familiar terms

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Loc

atio

n of

A

jant

a

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The caves of Ajanta are situatedin the district of Aurangabadin the state of Maharashtra. Ajanta is about 100 km from Aurangabad and about 60 km from Jalgaon

An extended stay at Aurangabadwould be rewarding,

as the equally important monuments of Ellora are

only about 30 km away.

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Mumbai

Ellora

Caves

Aurangabad

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The possible explanation forthe monastic establishment at Ajanta

is its proximity to the ancient trade routes.

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Per

iod

of

Exc

avat

ion

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The earliest caves in Ajanta were excavated during the rule of the Satavahana-s, who had their capital at Pratishthana(called Paithan in Maharashtra today).

During their rule there was brisk trade and commerce within the land and with the Mediterranean world,

which brought in enormous riches.

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First PhaseHinayana period (2nd - 1st centuries BC)

Caves 8, 9, 10, 13 & 15Awere excavated

during the rule of the Satavahana dynasty

During this period there was only limited sculptural activity

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The second phase was of greater artistic activity at Ajantaduring the rule of the Vakataka and the Chalukya dynasties from the 4th to the 6th centuries AD.

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Second PhaseMahayana period (4th – 6th centuries AD)

Remaining caveswere excavated

during the rule of the Vakataka &the Chalukya dynasties

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Pat

rona

ge

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The rulers, the Satavahana-s, the Vakataka-s and the Chalukya-s, were themselves Hindus, but allowed Buddhism

to flourish in their territory.

But there was no direct royal help during almost the entire period.

But the rich mercantile community, organising itself into guilds, had provided the requisite patronage.

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The entire Ajanta chapter is a tribute to the religious tolerance

of Hindu rulers.

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Re-

disc

over

y

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The precious caves remained abandoned till 1817 when they were discovered by a company of British soldiers.

Soon pioneer archaeologists were attracted to the caves that were lost to civilization for more than 1200 years.

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James Burgess and William Gill made copies of some of the paintings and exhibited in London in 1866.Unfortunately almost all of these perished in a disastrous fire.

Later some copies were made by Griffiths and Lady Herringham,

and published in 1896 and 1915.

Under the patronage of the Nizam, the then ruler of Hyderabad, Yazdani edited and published two volumes on the paintings in 1933.

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Rahula and Yashodhara meet the Buddha, Cave 17

Mural Reproduction by Herringham

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Lay

out

of

the

Cav

es

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The caves, lying deep inside the Sahyadri Hills, are hollowed out on the deep face of a horseshoe-shaped hillside with the Waghora river flowing through it

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LayoutLayoutLayoutLayout

2

17

6

1

16

9

10

23

27

19

The caves are aligned in a horseshoe form.

There are a total of 29 caves.

The caves are numbered not on the basis

of period of excavation, but on their physical location.

The general arrangement was not pre-planned, as they sprang up sporadically in different periods.

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Lay

out

of

the

Cav

es

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Her

e ar

e so

me

ench

anti

ng

vie

ws

of

the

cav

es

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Un

do

ub

ted

ly s

uit

ed f

or

un

inte

rru

pte

d

med

itat

ion

an

d c

on

tem

pla

tio

n

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A narrow pathway connects the caves to go on a pilgrimage

to the highest achievement of Indian Buddhist art

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Roc

k-cu

t A

rchi

tect

ure

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The caves of Ajanta offer an instructive field for the study of the evolution of

rock-cut architecture.

It is unique in the sensethat it can be viewed

as an enterprise of a sculptor.

The cave architecture, at Ajanta and elsewhere, betrays the strong influence

of wooden construction.

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The Team was probably drawn from the profession of carpenters, with goldsmiths and ivory-carvers

joining hands with the sculptors.

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The evolution of rock architecturetook place during two periods: the Hinayana period

of the pre-Christian era and the later Mahayana period.

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Hinayana period (2nd - 1st centuries BC)

During the first phasethe sculptural activitywas limited.

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In the second phase sculptural compositions filled

the facade, the shrines etc.Side by side with

the excavation of new caves the existing Hinayana ones

were suitably modified.

Mahayana period (4th century onwards)

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Mah

ayan

a p

erio

d –

Fac

ade

emb

elli

shed

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Chaitya-s - Temples

Vihara-s - Monasteries

The caves of Ajanta are divided into

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The entrance has a prominent

arched windowto light

the interior

Chaitya-Facade

Relief sculpturesadded in

Mahayana period

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Arched roof

Vaulted nave

Pillaredaisle

Stupa

Chaitya - Interior

Interior consists ofa long vaulted navewith a pillared aisle

on either side

Far end is semicircular with a stupa at its

centre

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Hall

Shrine

Cells

Entrance

Vihara - Plan

It hasa congregation hall

with cellsfor the monks

on the inner sides

Later a shrinewas excavated

at the far end

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Vihara - Interior

A colossal statue of the Buddha is seen in the sanctum

On the left to the entrance is the famous painting of Padmapani

Cave 1

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Cav

e 2

Vihara

Vihara

Vihara

Vihara - ---Interior

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Scul

ptur

e

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During the first phase, the Buddha was not shown in the human form, but only through symbols,

such as,the Wheel, the Bodhi Tree and the Feet of the Buddha.

But during the Mahayana period sculptures and paintings

of the Buddha and the Bodhi-sattva-s,

were added.

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The sculpture of Ajanta belongs

to the great art-tradition of contemporary India.

Sculpture from the 4th century AD, is remarkable for

its grace, elegance, restraint and serenity.

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Mah

a-pa

ri-ni

rvan

a, C

ave

26

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Mah

a-pa

ri-ni

rvan

a, C

ave

26

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Nag

a K

ing

and

his

Con

sort

Cav

e 19

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However, the general character of the sculpture of Ajanta tends towards a certain heaviness of form, and is considered inferior

to the Gupta images.

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Har

itish

rine,

Cav

e 2

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Sculpture at the Entrance, Cave 17

Every one of the sculptureswas plastered and painted

But most of the plasteris now lost

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The

mes

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Jataka Stories

The subjects of the paintings are mostly fromthe jataka-s, Buddhist mythological stories of the previous lives of the Master

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Here is a scene from the story of King Shibi, who offered his own flesh to save a pigeon

Jataka Stories

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A S

cene

from

Shi

biJa

taka

, Cav

e 1

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Episodes from the life of the Buddha form

the next important theme.

Life of the Buddha

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Gautama was meditating under the Bodhi tree to attain enlightenment.

Mara, the Evil Spirit, made many attempts to dislodge Gautama from His resolve.

Mara sent his three most beautiful daughtersto distract Him. This failed.

Then Mara summoned his demons to dislodge Gautama.

But Gautama was calm and unmoved.

Life of the Buddha

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Mar

a’s

Epi

sode

, Cav

e 1

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On the way to Her parent’s houseMayadevi gave birth to Siddhartain Lumbini grove of shaala trees.

Brahma, Indra and other gods descendedto pay their respects to the new-born.

Life of the Buddha

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May

a D

evig

ivin

g bi

rth

to S

iddh

arta

, Cav

e 2

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Solo PicturesReligious

There area few compositions

of divinities,but not partof any story

Bodhisattva Avalokiteshvara

Cave 1

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Solo PicturesSecular

A few of the solo-pictures do not seem to have any religious import.

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Lady

doi

ng h

er m

ake-

up, C

ave

17

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Decorative

The paintings in the last category are decorative and secular.

They fill up all the available space on the ceilings pillars, etc.

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My

thic

al

bir

ds

Clo

wn

Hil

ari

ou

s

Ge

om

etr

ica

lA

nim

als

Geo

me

tric

al

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Com

posi

tion

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Co

mp

osi

tio

n o

f th

e p

ain

tin

gs

ov

er t

he

per

iod

is a

n i

nte

rest

ing

stu

dy

.

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Earlier phase (2nd - 1st centuries BC)

The Raja with his retinue, Cave 10

Narration arranged in the form of long canvass,

at eye level,progressing from episode to episode

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Later phase (4th century AD onwards)

Later the paintings overspread the entire surface of the wall.

In these paintings narratives proceed from scene to scene and from act to act

harmoniously.

The scenes are not separated into frames that might disturb the concentration

of the viewing devotees.

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Later phase (4th century AD onwards)

An interesting feature of the narration, from the earlier times,

is that a strict chronology of eventswas not followed.

In many panels scenes are grouped according to the location of the scenes.

The composition of Matriposhaka Jataka, is typical of this period.

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Bodhisattva born as Matri-poshaka, a white elephant, lives in a forest taking care of his blind parents.

Once the elephant rescues a man, and requests him not to divulge his presence to any one.

Matri-poshaka Jataka

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Scene 1 The ungrateful person, who was rescued by Matri-poshaka, gives out his whereabouts to the king.P

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Sce

ne

1

Sce

ne 2

The

cap

ture

d el

epha

nt is

bei

ng le

d to

the

city

.

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Scene 1

Scene 2

Scene 3The king supervises feeding the elephant, but the elephant refuses to eat.

Before the brooding elephant is seen food in a large vessel and sugarcane lying about.

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Scene 1

Scene 2

Scene 3

Scene 4

The released animal is walking majestically towards the forest.

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Sce

ne

1

Sce

ne 2

Sce

ne

3

Sce

ne 5

Sce

ne 4

The

hap

py r

euni

on.

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Many panels suggest that the Ajanta artists used specific conventions for separating scenes and acts

from each other using suggestive punctuation marks.

Later phase (4th century AD onwards)

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Maha-janaka Jataka, Cave 1

In a palace scene pillars may separate the scenes

A gateway may mark the end of an act

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Pai

ntin

g T

radi

tion

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Indian wall-paintings are done on dry wall, called fresco secco

Indra’s Descent, Cave 17

In the Westpainting is doneon a moist wall,

called fresco buono Last Supper, da Vinci

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It might have taken centuriesfor the Indian artist to develop the technique of

preparing the wall for painting, and also to select suitable

pigments with an appropriate binder.

The importance of thesemay be seen from the fact that the Ajanta paintings have withstoodthe ravages of time with remarkable resilience.

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We have no clue to the technique of preparing the wall.

But the treatises which were written later based on the Ajanta experience give us an idea.

For example, Vishnu-dharmottara (7th century) explains the process of preparing the base plaster and the finish coat, called ‘vajralepa’.

Preparation of WallPD

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The base plaster consisted ofpowdered brick, burnt conches and sand, mixed with a preparation of molasses and drops of a decoction of Phaseolus munga.

To this were addedmashed ripe bananas or tree resins and the pulp of bilva fruit (Aegle marmelos).

After drying it was ground down and mixed with molasses and water until became soft for coating.

Preparation of Wall – Base PlasterPD

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Buffaloskin was boiled in water until it became soft.

Sticks were then made of the paste and dried in the sunshine.

When colour was mixed with this,it made it fast, andif white mud was mixed with it, it served as a perfect medium

for coating walls.

Preparation of WallFinish Coat (Vajralepa)P

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Pigments used

Most pigments were minerals available locally:red ochre, vivid red, yellow ochre, indigo blue, chalk white, terra verte and green.

Only Lapis lazuli was imported

Lamp-black was the only non-mineral

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Painting Sequence

A preliminary sketch in iron ore was drawn while the surface was still slightly wet,followed by an under-painting in

grey or white.

On this surface the outline was filled in with various colours, proceeding from underpaintingto the appropriate colours of the subject.

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Painting Sequence

Finally, when dry, it was finished off with a dark outline for final definition and a burnishing process

to give lustre to the surface.

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Pai

ntin

g T

radi

tion

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The paintings of Ajanta are the earliest representation of Indian painting tradition

available to us.

Even the earlier paintings at Ajanta, of the 2nd century BC, demonstrate a sophisticated technique,achievable only after centuries of

experimentation.

Unfortunately we have no trace of suchexperimentation.

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To get to know this great tradition one may turn to the treatises written

based on the Ajanta experiment.

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Treatises were codified based on Ajanta experience

Brihat-samhita (6th century)Kama-sutra (6th century)Vishnu-dharmottara (7th century)Samarangana-sutra-dhara (11th century)

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‘Six Limbs of Painting’according to

Kama-sutra, a well-known treatise on erotics

Rupa-bheda differentiation Pramanam proportionbhava suggestion of action/mood lavanya-yojanam infusion of grace sadrisham resemblancevarnika-bhangam application of colour

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‘Eight Limbs of Painting’according to

Samarangana-sutra-dhara,a treatise on Architecture

bhumi-bandhana preparation of surfacevarnika crayon workrekha-karma outline worklakshana features of facevarna-karma colouringvartanakarma relief by shadinglekhakarma correctiondvika-karma final outline

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Pro

duci

ng

Dep

th &

Rel

ief

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From very early times, Indian artists have been using a variety of techniques to produce an illusion of the third dimension.

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A monastery,

Shibi Jataka, Cave 17

Perspective

An example of expert rendering

in perspective

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Multiple Vision

A technique of painting scenes from different angles and merging them, similar to the modern technique called Multiple Vision.

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Details of the farthest pavilionwould be lostin normal perspective

Three separate shots dissolvedto show action

in all the pavilions

Multiple Vision

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Lust

ratio

n &

Ren

unci

atio

n, C

ave

1

Multiple Vision

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A c

eilin

g pa

intin

gC

ave

1

Kshaya

vriddhi

(‘loss-and-gain’)

Fore-shortening

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Main techniques

animnonnata - flat stylenimnonnata - relief by shading

Using Colours

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Animnonnata

A flat style that uses dark colours for the subjects in the foreground against a background of lighter shades,

or vice versa

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Shi

biJa

taka

, Cav

e 1

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Nimnonnata

Vartanashading techniqueschoosing judiciously tones and colours

UjjotanaAdding highlights

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Vartana

There are three main variations

A high-relief techniqueto produce an illusion of the third dimension

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Patraja (‘shading-like-the-lines-of-a-leaf’)

Illusion of depth is achieved by drawing lines to follow

contour of the body

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A c

eilin

g pa

intin

g, C

ave

1

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Binduja (dot and stipple method)

Illusion of depth is achieved by painting dots with variations in concentration of dots

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A c

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2

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Airika (a wash technique)

Illusion of depth is achievedby executing tonal variation and avoiding hard-lines

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Chi

ldre

n pl

ayin

g w

ith a

Hen

, Cav

e 2

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Ujjotana (adding highlights)

Highlights in the form of white patches added on the cheeks, the chin, the nose, etc to get a three-dimensional effect

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A w

oman

in a

pal

ace

scen

e, C

ave

1

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Chaya-tapa(‘shade-and-shine’)

Bodhisattva Padmapani, Cave 1

This produces a chiaroscuro effect

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Use of Blue Colour (Lapis Lazuli)

In the later period lapis lazuli, a blue, imported mineral came to be used as an effective medium for creating visual depth,contrasting with warm red and brown tones

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Sim

hala

Ava

dana

, Cav

e 17

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Pai

ntin

g&

Dan

ceU

niqu

e re

lati

on

in I

ndia

n ar

t

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The relationship between painting and dance is a remarkable unique Indian tradition

Vishnu-dharmottara (7th century AD)stresses the impossibility of attaining

a proper expression of feelingin painting

without the knowledge of dance

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There are paintings from the earlier as well as the later periods of Ajanta art,

which depict dance scenes.

Here is an unaffected dancer from pre-Christian era

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Raj

a w

ith h

is r

etin

ue, C

ave

10

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Dancing had become highly stylised in the later period.

A dancer with full complement of accompanying musicians is from Cave 1.

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Maha-janaka Jataka, Cave 1

The vibrant grace of pose and gesture invest her with a swaying, flower-like

rhythm and movement.

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Tribhanga is a very important feature in the depiction of the human form.

The whole figure is structured around three main axes.

Tribhanga PosePD

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It gives the body an S-shaped rhythm, a fluency of line, which, together with the appropriate gestures of hands, conveys a wide range of expressions.

Tribhanga PosePD

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Pai

ntin

g &

Scul

ptur

eA

noth

er u

niqu

e re

lati

on

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Most impressive is the way the two art-forms,paintng and sculpture,co-exist at Ajanta,complementing each other.

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Cav

e 6

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The sculptures were fully painted,

though most of the paint has disappeared.

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Sym

boli

smin

Ind

ian

Art

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The parts of the body should resemble, and be based on, similes drawn

from plant or animal-life. Sensuous lips are ripe and full

like the bimba-fruit;fingers likened to lotus-petals.

Here the allusion is not to the form but to the content, to the mood.

It is a suggestion and not realistic likeness.

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His divine face has the shape of an egg

His shoulders are like massive domed head

of an elephant, and arms like

its tapered trunkBodhisattva Padma-pani, Cave 1

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His

han

ds

are

sup

ple

lik

e a

flo

wer

-bu

d

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sim

ha-k

ati

(bo

dy

-of-

a -l

ion

)

gom

ukh

akh

anda

(co

w's

-hea

d)

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pada

-pal

lava

(fee

t-li

ke-

leav

es)

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char

ana-

kam

ala

(fee

t-li

ke-

lotu

s)

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Bod

y po

stur

es(s

than

a-s)

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rijva-gata(Strict profile)

to parshva-gata(Frontal)

In Indian tradition the postures of the body, were identified and distinct terms were used to cover the entire range

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It is possible that this was greatly influenced by the contemporary dance traditions.

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A woman listening to a sermon is

an excellent study

Shankha-pala Jataka, Cave 1

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The three women are in different postures;

another example of elegant poses

Cave 17

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Chempayya Jataka, Cave 1

This is particularly sowith the depictionof women shown

in congregation

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Dra

ught

man

ship

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Drawings with a free flowing sweep of the brushto depictoval faces,arched eyebrows,aquiline noses, andfine sensitive lips

are aplenty on the walls of Ajanta

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Mah

a-ja

naka

Jata

ka, C

ave

1

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A relaxed monkey,consisting basically of

one masterlysweep of brush

starting beneath chinand forming a curve

outlining headand spine

and terminatingbeneath knee-cap

Shad-danta Jataka, Cave 17

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Por

tray

al o

f W

omen

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Women of Ajanta are the art connoisseur’s delight.

The Ajanta artist has painted the whole range of women characters:

ladies of court and their maids, dancers,

common women in their house-hold chores

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The woman was the theme that gave full scope for expression of creative genius for the Ajanta artist.

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The artist had succeeded in reproducing

the soft roundness of her breasts, the curves of her hips,

the turn of her head, the gestures of her hands and

the slanting glance of her eyes.

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‘‘‘‘Clothed in NakednessClothed in NakednessClothed in NakednessClothed in Nakedness’’’’

It is intriguing thatmost of Ajanta heroinesare depicted naked, or in near nudity, while all the others in the same sceneare fully clothed

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Con

vers

ion

of N

anda

Cav

e 1

‘Clothed in Nakedness’

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Que

en S

hiva

li

Mah

a-ja

naka

Jata

ka, C

ave

1

‘Clothed in Nakedness’

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‘Clothed in Nakedness’

Maya-devi, Siddharta’s Mother

Nativity of the Buddha, Cave 2

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The Dying Princess

Conversion of Nanda, Cave

16

Nanda’s wife,the central figure,

is nakedwhereas all

the maids arefully clothed.

‘Clothed in Nakedness’

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‘‘Black is BeautifulBlack is Beautiful’’

Many heroines of Ajanta are dark complexioned.

Perhaps contemporary taste included black as an attractive complexionfor skin.

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Con

sort

of P

adm

a-pa

ni

Pad

ma-

pani

pane

l, C

ave

1

‘Black is Beautiful’

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The

Dyi

ng P

rince

ss

Con

vers

ion

of N

anda

,

Cav

e 16

‘Black is Beautiful’

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Bla

ck A

psar

as

Cav

e 17

‘Black is Beautiful’

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‘Black is Beautiful’

Sha

ktiP

anda

ra, C

ave

1

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Village Woman attending

Coronation

Vishvantara Jataka, Cave 17

Common PeopleCommon People

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Common People W

oman

bra

idin

g H

air

Vis

hvan

tara

Jata

ka, C

ave

17

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We wonder why very sensuous women were painted at all

these religious caves

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Dep

icti

on o

f

Mov

emen

t

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Vishnu-dharmottara says:"He, who paints waves,

flames, smoke, …according to the movement of the wind, is a great painter."

Ajanta painters took great pleasure in composing scenesinvolving movement with great zest.

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The floating clouds,the swaying foliage and

apsaras and gandharvasflying swiftly through the air,

produce a fantastic movementwhen Indra and his entourage

descent to worship the Buddha.

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Indr

a’s

desc

ent

Cav

e 1

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A mad elephant was let looseon the Compassionate One

by his envious half-brother.

Elephant on the rampageis shown in great dynamism

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Sub

juga

tion

of N

alag

iri, C

ave

17

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This charging bull on the ceiling in Cave 1 is an example in depicting movement

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Fig

htin

g B

ulls

, A p

aint

ing

on a

pill

ar, C

ave

1

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Hum

our

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The royal household is immersed in a religious discourse by Bodhisattva.

Here is shown a servant stealing fruits.

And a servant-maid has noticed the mischief.

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Cha

mpe

yya

Jata

ka, C

ave

1

Att

end

ant

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On the pedastal of Goddess Haritiis shown a class-room.

While the students in the front rows are attentive to the teacher, the backbenchers are enjoying themselves by chasing a ram!

Hariti shrine, Cave 2

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Mus

ical

Her

itag

e

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In Ajanta, we can study the development of our musical heritage.

We can see both the continuity and change over the period.

A variety of musical instruments have been depicted.

Musical Heritage

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Small Drum

VerticalDrum

Cymbals

Flute

Flute

Maha-janaka Jataka, Cave 1

Dancer withmusicians

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Mri

dan

gam

Flu

te

Co

nch

Kin

g ab

dica

ting,

Mah

a-ja

naka

Jata

ka, C

ave

1

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Kin

nara

pla

ying

Kac

hcha

paV

ina,

Pad

map

aniP

anel

, Cav

e 1

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Des

cent

of I

ndra

, Cav

e 17

Cy

mb

al

Cy

mb

al Flu

te

Dru

m

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Con

tem

pora

ry

Fas

hion

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Ajanta is treasure-house

to study contemporary fashion

in textiles, jewellery, etc.

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Maha-janaka Jataka, Cave 1

The girl sports an upper-garment with rows of geese printed on it

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The glorious tradition of ikkat, where yarn is dyed

to produce a design, leading to today’s

Patola and Pochampalli,was initiated here Maha-janaka Jataka, Cave 1

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The tailored dress of dancera proof of high degree

of sophistication inboth fabric design and

dress-making

Maha-janaka Jataka, Cave 1

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Mah

a-ja

naka

Jata

ka, C

ave

1

So

ph

isti

cate

d o

rnam

ents

see

n o

n t

he

dan

cer

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Ars

i, T

hu

mb

-rin

g s

etw

ith

a M

inia

ture

Mir

ror

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Sh

aras

hri

,H

ead

-dre

sso

f G

old

-bea

ds

and

Pea

rls

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Kar

na-

pu

shp

am,

Ear

-rin

gs

of

elab

ora

te D

esig

n

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Hai

rdre

ss

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Cei

ling

Pai

ntin

gs

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For reasons unknown, the Ajanta artist did not paint religious themes on the ceilings. But expert workmanship is evident.

These drawings have taken the texture of a carpet, brilliantly woven, captivating the eyes and filling the senses.

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In l

igh

ter

vei

nG

eom

etri

cal

Flo

wer

sA

nim

als/

Bir

ds

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One of the themes is the huge concentric circle enclosed in a square, with number of flowery bandswithin it.

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Cav

e 2

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Har

itish

rine,

Cav

e 2

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Mai

n ha

ll, C

ave

17

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Another equally cherished theme consists of a number of rectangular panels

filled with decorative motifs framed by smaller squares or rectangles with representations

of fruit and floral forms.

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Cei

ling

Pai

ntin

gsA

nim

als

& B

irds

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Rec

linin

g B

ulls

, Cav

e 17

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Cav

e 1

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Cav

e 1

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Cei

ling

Pai

ntin

gsIn

Lig

hter

Vei

n

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Cav

e 1

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Cav

e 2

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The most intriguing and least expected in a religious shrine are the scenes depicting

a king in his harem

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Per

sian

Har

em, C

ave

2

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and

fri

end

s en

joy

ing

eac

h o

ther

's c

om

pan

yw

ith

win

e!

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Pha

ses

of

Aja

nta

Art

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In most forms of art one may discern

a gradual and natural progression.

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A lack of experiencein making and employing tools,

in narration etc, is generally the beginning.

This is often called archaic style.

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Then follows a mature phase, a phase of quiet dignity without excesses;and the artists prefer studied dignity and what they call 'good taste'.

This is the classical phase

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Repetition of ideas, called mannerism

is perhaps the next stage

to be followed by over-ornamentation,

a style known as baroque.

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It i

s th

en t

he

dec

lin

ese

ts i

n.

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By sheer chance, the development of style from the beginning to its final decline

can be witnessed within the physical limits of Ajanta.

In this respect Ajanta has no parallel.

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Pre-Classical Period (2nd-1st Centuries BC)

Classical Period (4th-5th Centuries AD)

Period of Mannerism (5th-6th Centuries AD)

Baroque Period (Mid-6th Century AD)

Period of Decline (End-6th Century AD)

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Pha

ses

of A

jant

a A

rtP

re-c

lass

ical

Per

iod

(2nd

-1st

cen

turi

es B

C)

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The earliest paintings of Ajanta of the 2nd-1st century BC cannot be classified as archaic.

Pre-classical Period

These paintings present lively men and animals.

They have already enteredthe transitional period that was to carry them on to the classical phase.

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Pre-classical Period

Shown overleaf is a king with his retinue going towards a temple.

The painting of this period was paintedlongitudinally in narrow horizontal panels,

maintaining the same level.

The composition is characterised by restricted use of colours,

mostly brown in various tones.

Most of the characters are shown in the three-fourth profile,

a monotony avoided in the later periods.

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Raj

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Only a line sketch of this grand composition, belonging to the same period is available

to appreciate the lost glory.

Shad-danta Jataka, Cave 10

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Pha

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Classical Period

This style means perfect mastery of the subject.

Everything is idealised, realism is only for creatingthings of beauty and perfection.

There is a dignity and nobility, and allows no exaggeration, no excess, no overstatement and no dramatisation.

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Votaries with offerings, Cave 2

Calm, unobtrusivemodelling and gentle,

the swaying movementof the characters

bear the stampof the classical period.

A wash technique,called airika creatingan illusion of depth

is employed here

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The Prince is informing his wife of his impending exile

and is offering wine to steady her.

The posture of the couple andthe sombre colours,

make the painful scene striking.

Belonging to the classical period, the scene brings out

the emotional atmosphere effectively.

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Vis

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Period of Mannerism

A departure from classicism can be seen in monotony in the sitting posture and

in the overcrowding.

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Vid

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-pan

dita

Jata

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Pha

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Baroque is a style of over-ornamentation and exaggeration.

Baroque Period

Action takes place in a maze of pillars in royal pavilions.

The eye-slits are stretched out of all proportion.

Men look effeminate and women exaggeratedly feminine.

Both men and women wear excessive ornaments.

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The Bodhisattva is heavily bejewlled and His eyes elongated out of proportion.

Bodhisattva Avalokiteshvara, Cave 1

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Mah

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Pha

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Artistic standards were in the decline from the end of the 6th century.

Period of Decline

Mercifully this phase did not last long, for the Ajanta caves were soon

abandoned forever, for reasons unknown.

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The poses are now exaggerated with heavy heads, elongated eyes, thin legs, superfluous hand gestures etc.The composition is too crowded. The execution becomes careless.

Period of Decline

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Wom

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Two Buddhas, Cave 10

The figures of the Buddhas came

to be enclosed in separate cubicles

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This presentation of figures of the Buddhas,

lacks refinement and finish.

Miracle at Shravasti, Cave 2

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An Unidentified Scene, Cave 1

In place of shapely palms and sensitive fingers, they are rather stiff and simplified.The countenance lacks expression.

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Insp

irat

ion

at H

ome

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The paintings of Ajanta, in style, in type and in technique, exerted their influence on Indian art for centuries to follow.

The paintings in the Bagh caves in Ellora, in Sittannavasal, are perpetuation of the refinement of the great murals of the Ajanta caves.

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Bag

h

in M

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Sitt

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In T

amiln

adu

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Insp

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ion

Abr

oad

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With the spread of Buddhism to Indian AsiaBuddhist mural decoration initiated at Ajanta diffused into these parts.

The paintings of Sigiriya in Srilanka, of Bamiyan, of Turfan in China and of Horyu Kondo in Japanare regional variation of the Ajanta idiom

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Sig

iriya

, Sril

anka

Tur

fan,

Chi

na

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The end of the Ajanta epoch

The creative period of Ajanta endedas mysteriously as it had begun.

Some of the unfinished caves,which were quite obviously

abandoned unexpectedly,show that the emigration took place

over a comparatively short span of time.

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Ananda Coomaraswamy says ..

The frescoes of Ajanta preserve an infinitely

precious record of the golden age of Indian

painting.

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This is the picture of a halcyon age, where

renunciation and enjoyment are perfectly

attuned, an art at once of utmost intimacy

and reserve.

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Every gesture springs in godlike fashion

directly from the natural dispositions of the

mind ……….

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Tha

nk y

ou…

.

Swam

inat

han

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