Ajanta - Paintings.ppt

Paintings of
Ajanta Caves
(2nd century BC to
6th century AD)
S. Swaminathan
(sswami99@gmail.com)

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.

In these caves can be seen the development of Art
from early phase of the pre-Christian era,
reaching classical perfection,
falling off into mannerism
and then to baroque ornamentation
and, finally, lapsing into artistic decline

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
its sense of wit.

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,
pacing of the narrative.

The Ajanta paintings are the earliest
surviving paintings of India,
religious or secular
The spirit of Ajanta influenced
the religious art
of the whole of Asia

In fact, the Ajanta painting tradition is truly
an indigenous religious art tradition.
The Buddha and His disciples were Indians.
The Indian artist, while depicting Buddhist
themes, did not feel the need to make
a translation from foreign to familiar terms

The caves of Ajanta are situated
in the district of Aurangabad
in the state of Maharashtra.
Ajanta is about 100 km from Aurangabad and
about 60 km from Jalgaon.
An extended stay at Aurangabad
would be rewarding,
as the equally important
monuments of Ellora are
only about 30 km away.

The possible explanation for
the monastic establishment at Ajanta
is its proximity to the ancient trade routes.

Ajanta
Mumbai
Aurangabad
It is about 100 km from Aurangabad

First Phase
Hinayana period (2nd - 1st centuries BC)
The earliest caves (Nos. 8, 9, 10, 13 & 15A)
were excavated
during the rule of the Satavahana-s,
who had their capital at Pratishthana.
During their rule there was
brisk trade and commerce
within the land and
with the Mediterranean world,
which brought in enormous riches.

Second Phase
Mahayana period (4th – 6th centuries AD)
The second phase was of
greater artistic activity at Ajanta
and the remaining caves were excavated
during the rule of
the Vakataka and the Chalukya dynasties
from the 4th to the 6th centuries AD.

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.

The entire Ajanta chapter is
a tribute to the religious tolerance
of the Hindu rulers.

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.

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.

Rahula and Yashodhara meet the Buddha,
Cave 17
Reproduction by Herringham
Mural

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.

Layout
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.

Here are some enchanting views of the caves

Undoubtedly suited for uninterrupted
meditation and contemplation

A narrow pathway connects the caves
to go on a pilgrimage
to the highest achievement of Indian Buddhist art

The caves of Ajanta offer an instructive field
for the study of the evolution of
rock-cut architecture.
It is unique in the sense
that it can be viewed
as an enterprise of a sculptor.
The cave architecture,
at Ajanta and elsewhere,
betrays the strong influence
of wooden construction.

The team was probably drawn from
the profession of carpenters,
with goldsmiths and ivory-carvers
joining hands with the sculptors.

The evolution of rock architecture
took place during two periods:
the Hinayana period
of the pre-Christian era and
the later Mahayana period.

Hinayana period (2nd - 1st centuries BC)
During the first phase
the sculptural activity
was limited.

Mahayana period (4th century onwards)
In the second phase
sculptural compositions filled
the facade, the shrines, etc.
Side by side with
the excavation of new caves
the existing Hinayana caves
were suitably modified.

Mahayana period – facade embellished

Chaitya-s – Temples
Vihara-s - Monasteries
The caves of Ajanta are divided into

The entrance has
a prominent
arched window
to light
the interior
Relief sculptures
added in
Mahayana period
Chaitya-Facade

Arched
roof
Vaulted nave
Pillared
aisle
Stupa
Chaitya - Interior
Interior consists of
a long vaulted nave
with a pillared aisle
on either side
Far end is semicircular
with a stupa at its
centre

Hall
Shrine
Cells
Entrance
Vihara - Plan
It has
a congregation hall
with cells
for the monks
on the inner sides
Later a shrine
was excavated
at the far end

A colossal statue of the Buddha
is seen in the sanctum
On the left to the entrance is
the famous painting of Padmapani
Vihara - Interior

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.

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.

Naga King and
his consort
Cave 19

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

Sculpture at the Entrance
Cave 17
Every one of the sculptures
was plastered and painted.
But most of the plaster
is now lost.

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

Jataka Stories
This is a scene from the story of King Shibi,
who offered his own flesh to save a pigeon.

A Scene from Shibi Jataka, Cave 1

Episodes from the life of
the Buddha form
the next important theme.
Life of the Buddha

Life of the Buddha
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 daughters
to distract Him.
When this failed,
Mara summoned his demons
to dislodge Gautama.
But Gautama was calm and unmoved.

On the way to Her parent’s house
Mayadevi gave birth to Siddharta
in Lumbini grove of shaala trees.
Brahma, Indra and other gods descended
to pay their respects to the new-born.
Life of the Buddha

A Scene from The Birth of the Buddha, Cave 2

Solo Pictures
Religious
Bodhisattva Avalokiteshvara, Cave 1
There are
a few compositions
of divinities,
but these are not
part of any story.

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

Lady doing her make-up, Cave 17

The paintings in the last category are
decorative and secular.
They fill up all the available space
on the ceilings, pillars, etc.
Decorative

Hilarious themes
Mythical birds Clown
Geometrical design
Animals
Floral design

Composition of the paintings over the period
is an interesting study.

Earlier phase (2nd - 1st centuries BC)
The Raja with his Retinue, Cave 10
Narration arranged is
in the form of long canvass,
at eye level,
progressing from episode to episode

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.

An interesting feature of the narration,
from the earlier times,
is that a strict chronology of events
was 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.

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
Cave 17

Scene 1
Matri-poshaka Jataka, Cave 17
The ungrateful person, who was rescued by Matri-poshaka,
gives out his whereabouts to the king.

Scene 1
Scene 2 The captured elephant is being led to the city.

Scene 1
Scene 2
Scene 3
The king supervises feeding the elephant,
but the elephant refuses to eat.
Before the brooding elephant some food in a large
vessel and sugarcane are lying about.

Scene 1
Scene 2
Scene 3
Scene 4
The released animal is walking majestically towards the forest.

Scene 1
Scene 2
Scene 3
Scene 5
Scene 4
The happy reunion.

Many panels suggest that
the Ajanta artists used
specific conventions
for separating scenes and acts
from each other
using suggestive punctuation marks.

Maha-janaka Jataka, Cave 1
In a palace scene
pillars may separate the scenes
A gateway
may mark the end of an act

Indian
wall-paintings are
done on dry wall,
called
fresco secco
In the West
painting is done
on a moist wall,
called fresco buono
Indra’s Descent, Cave 17
Last Supper, da Vinci

It might have taken centuries
for 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 these
may be seen from the fact that
the Ajanta paintings have withstood
the ravages of time
with remarkable resilience.

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 Wall

It consisted of powdered brick,
burnt conches and sand,
mixed with a molasses
and decoction of Phaseolus munga.
To this were added
mashed ripe bananas or tree resins and
the pulp of bilva fruit.
After drying it was ground down and
mixed with molasses and water
until became soft for coating.
Preparation of Wall – Base Plaster

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, and
if white mud was mixed with it,
it served as a perfect medium
for coating walls.
Preparation of Wall – Finish Coat

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

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 underpainting
to the appropriate colours
of the subject.

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.

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 such
experimentation.

To get to know this great tradition
one may turn to the treatises written
based on the Ajanta experiment.

Treatises were codified based
on Ajanta experience
Brihat-samhita (6th century)
Kama-sutra (6th century)
Vishnu-dharmottara (7th century)
Samarangana-sutra-dhara (11th century)

‘Six Limbs of Painting’
according to
Kama-sutra,
a well-known treatise on erotics
rUpabhedapramANAni
bhAvalAvaNya yojanam
sAdRShyam vArNikabhangam
iti chitram shaDAngakam
rUpa-bheda differentiation
pramANam proportion
bhAva suggestion of mood
lAvaNya-yojanam infusion of grace
sAdRShyam resemblance
vArNika-bhangam application of colour

‘Eight Limbs of Painting’
according to
Samarangana-sutra-dhara,
a treatise on Architecture
bhUmi-bandhana preparation of surface
varnika crayon work
rekha-karma outline work
lakshaNa features of face
varna-karma colouring
vartana-karma relief by shading
lekha-karma correction
dvika-karma final outline

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

A Monastery,
Shibi Jataka, Cave 17
Perspective
An example of
expert rendering
in normal
perspective

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

Details
of the farthest pavilion
would be lost
in normal perspective
Three separate
shots dissolved
to show action
in all the pavilions

Lustration & Renunciation, Cave 1
Multiple Vision

A Ceiling Painting, Cave 1
Kshaya vriddhi (‘loss-and-gain’)
Fore-shortening

Two main techniques were employed
animnonnata - flat style
nimnonnata - relief by shading
Using Colours

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

Nimnonnata
Vartana
shading techniques
choosing judiciously
tones and colours
Ujjotana
a technique of
adding highlights

Vartana
There were three main variations
A high-relief technique
to produce
an illusion of
the third dimension

Patraja (‘shading-like-the-lines-of-a-leaf’)
Illusion of depth is achieved
by drawing lines to follow contours of the body

Binduja (dot-and-stipple method)
by painting dots
with variations in concentration of dots

by executing tonal variation
and avoiding hard-lines
Airika (a wash technique)

Children playing with a Hen, Cave 2

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

A woman in a Palace Scene, Cave 1

Chaya-tapa
(‘shade-and-shine’)
Bodhisattva Padmapani, Cave 1
A technique
that produces
a chiaroscuro effect

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

Painting
&
Dance
Unique relation
in Indian art

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 feeling
in painting
without the knowledge of dance

There are paintings from the earlier
as well as the later periods of Ajanta art
that depict dance scenes.
Here is an unaffected dancer
from pre-Christian era

Raja with his Retinue, Cave 10

Dancing had become highly stylised
in the later period.
A dancer with full complement
of accompanying musicians is from Cave 1.

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

Tribhanga is a very important feature
in the depiction of the human form.
The whole figure is structured
around three main axes.
Tribhanga Pose

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 Pose

Painting
&
Sculpture
Another unique relation

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

The sculptures were fully painted,
though most of the paint
has disappeared.

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.

Bodhisattva Padma-pani
Cave 1
His divine face has
the shape of an egg

Bodhisattva Padma-pani
Cave 1
His shoulders are
like massive
domed head
of an elephant,
and arms like
its tapered trunk

His hands are
supple like flower-bud

gomukha khanda
(cow's-head)
simha-kati
(body-of-a -lion)
Other Metaphors

pada-pallava (feet-like-leaves)

charana-kamala (feet-like-lotus)

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

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

Shankha-pala Jataka, Cave 1
A woman listening
to a sermon is
an excellent study

The three women are
in different postures;
another example
of elegant poses
Mural Painting, Cave 17

Chempayya Jataka, Cave 1
This is particularly so
with the depiction
of women shown
in congregation

Drawings with
a free flowing
sweep of the brush
to depict oval faces,
arched eyebrows,
aquiline noses, and
fine sensitive lips
are aplenty on the walls
of Ajanta

Shad-danta Jataka, Cave 17
A relaxed monkey,
consisting
basically of
one masterly
sweep of brush
starting
beneath chin
and
forming a curve
outlining head
and spine
and terminating
beneath knee-cap

Portrayal of
Women
Portrayal of
Women

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

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

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.

‘Clothed in Nakedness’
It is intriguing that
most of Ajanta heroines
are depicted naked,
or in near nudity,
while all the others
in the same scene
are fully clothed

Janapada-kalyani
Conversion of Nanda, Cave 1

Queen Shivali

Maya-devi, Siddharta’s Mother
Nativity of the Buddha, Cave 2

The Dying Princess
Conversion of Nanda,
Cave 16
Nanda’s wife,
the central figure,
is naked
whereas all
the maids are
fully clothed.

Many heroines of Ajanta
are dark complexioned.
Perhaps contemporary taste
included black
as an attractive complexion
for skin.
‘Black is Beautiful’

Consort of Padma-pani
Padma-pani Panel, Cave 1

The Dying Princess
Conversion of Nanda, Cave
16

Black Apsaras
Adoration of the Buddha Panel
Cave 17

Shakti Pandara, Avalokitesvara Panel, Cave 1

A Village Woman
attending Coronation
Vishvantara Jataka, Cave 17
Common People

Woman braiding Hair
Vishvantara Jataka, Cave 17
Common People

We wonder why very sensuous women
were painted at all
in these religious caves

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 scenes
involving movement
with great zest.

In the Scene when Indra and
His entourage
descent to worship
the Buddha.
the floating clouds,
the swaying foliage and
apsaras and gandharvas
flying swiftly through the air,
produce a fantastic movement

A mad elephant was let loose
on the Compassionate One
by his envious half-brother.
Elephant on the rampage
is shown in great dynamism

Subjugation of Nalagiri, Cave 17

A Ceiling Painting, Cave 1
This charging bull is
another example in depicting movement

Fighting Bulls, A painting on a pillar, Cave 1

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.

Champeyya Jataka, Cave 1
Attendant

Hariti shrine, Cave 2
On the pedestal of Goddess Hariti
is 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!

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

Musical Heritage
Queen Shivali arranges
A programme of dance
with a full compliment
of accompanying musicians
in order to draw the king
towards worldly pleasures

Small Drum
Vertical
Drum
Cymbals
Flute
Flute
Dancer with Musicians, Maha-janaka Jataka, Cave 1

Musical Heritage
The abdicated king is
given a royal send off
with musician forming
part of the procession

Mridangam
Flute
Conch
King abdicating, Maha-janaka Jataka, Cave 1

Kinnara playing Kachchapa Vina, Padmapani Panel, Cave 1
Musical Heritage

Musicians form the entourage
When Indra descends
To worship the Buddha
Musical Heritage

Descent of Indra, Cave 17
Cymbal
Cymbal
Flute
Drum

Ajanta is
treasure-house
to study
contemporary fashion
in textiles,
jewellery, etc.

Maha-janaka Jataka,
Cave 1
The girl sports an upper-garment
with rows of geese printed on it

The glorious tradition of
ikkat,
a resist-dye method,
where yarn is dyed
to produce a design,
leading to today’s
Patola and Pochampalli,
was initiated here.

The tailored dress of dancer
a proof of high degree
of sophistication in
both fabric design and
dress-making

Sophisticated ornaments
can be seen
on the dancer
Arsi, Thumb-ring set
with a Miniature Mirror

Karna-pushpam,
Ear-rings of elaborate Design

Sharashri,
Head-dress of Gold-beads
and Pearls

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.

In lighter vein
Geometrical
Flowers Animals/Birds

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

Hariti shrine, Cave 2
Ceiling Painting

Another popular theme
consists of a number of
rectangular panels
filled with decorative motifs
framed by smaller rectangles
with representations
of fruit and floral forms.

Ceiling Paintings
Animals & Birds

Ceiling Paintings
In Lighter Vein

The most intriguing and
least expected
in a religious shrine are
the scenes depicting
a king in his harem
and friends enjoying
each other's company
with wine!

In most forms of art
one may discern
a gradual and
natural progression.

A lack of experience
in making and employing tools,
in narration, etc,
is generally the beginning.
This is often called archaic style.

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

Repetition of ideas,
called mannerism
is perhaps the next stage
to be followed
by over-ornamentation,
a style known as baroque.

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.

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)

Phases of Ajanta Art
Pre-classical Period
(2nd-1st centuries BC)

The earliest paintings of Ajanta
of the 2nd-1st century BC
cannot be classified as archaic.
These paintings present
lively men and animals.
They belong to
the transitional period
that was to carry them on to
the classical phase.

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

Raja with Retinue, Cave 10
The composition is characterised by restricted
use of colours, mostly brown in various tones.
Most characters are shown in the three-fourth
profile, a monotony avoided in the later periods.

Shad-danta Jataka, Cave 10
Only a line sketch of this grand composition,
belonging to the same period is available
to appreciate the lost glory.

Classical Period
(4th-5th centuries AD)

Classical Period
This style means perfect mastery
of the subject.
Everything is idealised,
realism is only for creating
things of beauty and perfection.
There is a dignity and nobility,
and allows
no exaggeration, no excess,
no overstatement and
no dramatisation.

Votaries with offerings, Cave 2
Calm, unobtrusive
modelling and the gentle,
swaying movement
of the characters
bear the stamp
of the classical period.
A wash technique,
called airika creating
an illusion of depth
is employed here
Classical Period

The Prince is
informing his wife of his
impending exile
and is offering wine
to steady her.

The posture of
the couple and
the sombre colours,
make the painful scene
striking.
Belonging to
the classical period,
the scene brings out
the emotional
atmosphere
effectively.
Visvantara Jataka, Cave 17

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

Vidhura-pandita Jataka, Cave 2
Period of Mannerism
A departure from classicism can be seen
in monotony in the sitting posture and
in the overcrowding.

Baroque Period
(Mid-6th century AD)

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 proportion.
Men look effeminate and
women exaggeratedly feminine.
Both men and women wear
excessive ornaments.

Bodhisattva Avalokiteshvara, Cave 1
Baroque Period
The Bodhisattva is
heavily bejewlled and
His eyes elongated
out of proportion.

Baroque Period

Period of Decline
(End-6th century AD)

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.

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

Women in a Palace Scene, Cave 1

Two Buddhas, Cave 10
The figures of
the Buddhas came
to be enclosed
in separate cubicles
Period of Decline

Miracle at Shravasti, Cave 2
This presentation
of figures of the Buddhas,
lacks refinement and finish.
Period of Decline

An Unidentified Scene, Cave 1
In place of shapely
palms and
Sensitive fingers,
they are stiff and
simplified.
The face lacks
expression.
Period of Decline

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.

Bagh
in Madhya Pradesh
Sittannavasal
In Tamilnadu

With the spread of Buddhism to Indian Asia
Buddhist 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 Japan
are regional variation of
the Ajanta idiom

Sigiriya, Srilanka Turfan, China

The end of the Ajanta epoch
The creative period of Ajanta ended
as 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.

Ananda Coomaraswamy says ..
The frescoes of Ajanta preserve an infinitely
precious record of the golden age of Indian
painting.

This is the picture of a halcyon age, where
renunciation and enjoyment are perfectly
attuned, an art at once of utmost intimacy
and reserve.

Every gesture springs in godlike fashion
directly from the natural dispositions of the
mind ……….

Contact me through: sswami99@gmail.com
Find my details at: www.pudukkottai.org/swaminathan
S. Swaminathan

Conceived and presented by
S. Swaminathan
(sswami99@gmail.com)
www.pudukkottai.org/swaminathan
with assistance from
R. Murugapandian & M. V. Kiran
Feb, 2005

Ajanta - Paintings.ppt

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