Ajanta Paintings

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

2. Introduction

3. Ajanta is a great art treasure. They contain some exquisite sculptures, and more importantly, paintings of unrivalled beauty. Its caves are a fine example of rock-cut architecture.

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

5. 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.

6. 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.

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

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

9. Location of Ajanta

10. 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.

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

12. Ajanta Aurangabad Mumbai It is about 100 km from Aurangabad

13. Mumbai

14. Period of Excavation

15. 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.

16. 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.

17. Patronage

18. 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.

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

20. Re-discovery

21. 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.

22. 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.

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

24. Layout of the Caves

25. 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.

26. Layout 17 16 19 The caves are aligned in a horseshoe form. 10 9 There are a total of 29 caves. 23 The general arrangement was not pre-planned, as they sprang up sporadically in different periods. 6 The caves are numbered not on the basis of period of excavation, but on their physical location. 27 2 1

27. Views of the Caves

28. Here are some enchanting views of the caves

31. Undoubtedly suited for uninterrupted meditation and contemplation

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

34. Rock-cut Architecture

35. 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.

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

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

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

39. 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.

40. Mahayana period – facade embellished

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

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

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

45. Vihara - Plan Shrine Cells It has a congregationhall Hall withcells for the monks on the inner sides Later ashrine was excavated at the far end Entrance

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

47. Vihara - Interior Cave 2

48. Sculpture

49. 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.

50. 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.

51. Maha-pari-nirvana, Cave 26

52. Maha-pari-nirvana, Cave 26

53. Naga King and his consort Cave 19

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

55. Hariti Shrine, Cave 2

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

57. Themes

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

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

60. A Scene from Shibi Jataka, Cave 1

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

62. 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.

63. Mara’s Episode, Cave 1

64. Life of the Buddha 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.

65. A Scene fromThe Birth of the Buddha, Cave 2

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

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

68. Lady doing her make-up, Cave 17

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

70. Mythical birds Clown Floral design Geometrical design Animals Hilarious themes

71. Composition

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

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

74. 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.

75. Later phase (4th century AD onwards) 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.

76. Matri-poshaka Jataka Cave 17 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.

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

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

79. Scene 1 Scene 3 Scene 2 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.

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

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

82. Later phase (4th century AD onwards) Many panels suggest that the Ajanta artists used specific conventions for separating scenes and acts from each other using suggestive punctuation marks.

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

84. Painting Technique

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

86. 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.

87. Preparation of Wall 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’.

88. Preparation of Wall – Base Plaster 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.

89. Preparation of Wall – Finish Coat 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.

90. 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

91. 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.

92. 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.

93. Painting Tradition

94. 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.

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

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

97. ‘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

98. ‘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

99. Producing Depth & Relief

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

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

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

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

104. Multiple Vision Lustration & Renunciation, Cave 1

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

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

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

108. Shibi Jataka, Cave 1

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

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

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

112. A Ceiling Painting, Cave 1

113. Binduja (dot-and-stipple method) Illusion of depth is achieved by painting dots with variations in concentration of dots

114. A Ceiling Painting, Cave 2

115. Airika (a wash technique) Illusion of depth is achieved by executing tonal variation and avoiding hard-lines

116. Children playing with a Hen, Cave 2

117. 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

118. A woman in a Palace Scene, Cave 1

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

120. 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

121. Simhala Avadana, Cave 17

122. Painting & DanceUnique relation in Indian art

123. 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

124. 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

125. Raja with his Retinue, Cave 10

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

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

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

129. 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.

130. Painting &Sculpture Another unique relation

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

132. Cave 6

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

134. Entrance, Cave 17

135. Symbolism in Indian Art

136. 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.

137. Here the allusion is not to the form but to the content, to the mood. It is a suggestion and not realistic likeness.

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

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

140. His hands are supple like flower-bud

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

142. pada-pallava(feet-like-leaves)

143. charana-kamala (feet-like-lotus)

144. Body Postures (sthana-s)

145. In Indian tradition the postures of the body were identified and distinct terms were used to cover the entire range rijva-gata (Strict profile) parshva-gata (Frontal) to

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

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

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

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

150. Draughtmanship

151. 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

152. Maha-janaka Jataka, Cave 1

153. 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 Shad-danta Jataka, Cave 17

154. Portrayal of Women Portrayal of Women

155. 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

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

157. 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.

158. ‘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

159. ‘Clothed in Nakedness’ Janapada-kalyani Conversion of Nanda, Cave 1

160. ‘Clothed in Nakedness’ Queen Shivali Maha-janaka Jataka, Cave 1

161. ‘Clothed in Nakedness’ Maya-devi, Siddharta’s Mother Nativity of the Buddha, Cave 2

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

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

164. ‘Black is Beautiful’ Consort of Padma-pani Padma-pani Panel, Cave 1

165. ‘Black is Beautiful’ The Dying Princess Conversion of Nanda, Cave 16

166. ‘Black is Beautiful’ Black Apsaras Adoration of the Buddha Panel Cave 17

167. ‘Black is Beautiful’ Shakti Pandara, Avalokitesvara Panel, Cave 1

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

169. Common People Woman braiding Hair Vishvantara Jataka, Cave 17

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

171. Depiction of Movement

172. 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.

173. 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

174. Indra’s Descent, Cave 17

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

176. Subjugation of Nalagiri, Cave 17

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

178. Fighting Bulls, A painting on a pillar, Cave 1

179. Humour

180. 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.

181. Attendant Champeyya Jataka, Cave 1

182. 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! Hariti shrine, Cave 2

183. Musical Heritage

184. Musical Heritage 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.

185. 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

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

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

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

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

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

191. Cymbal Cymbal Flute Drum Descent of Indra, Cave 17

192. Contemporary Fashion

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

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

195. 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. Maha-janaka Jataka, Cave 1

196. The tailored dress of dancer a proof of high degree of sophistication in both fabric design and dress-making Maha-janaka Jataka, Cave 1

197. Sophisticated ornaments can be seen on the dancer Arsi, Thumb-ring set with a Miniature Mirror Maha-janaka Jataka, Cave 1

198. Karna-pushpam, Ear-rings of elaborate Design

199. Sharashri, Head-dress of Gold-beads and Pearls

200. Hairdress

201. Ceiling Paintings

202. 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.

203. Flowers Animals/Birds Geometrical In lighter vein

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

205. Cave 2

206. Ceiling Painting Hariti shrine, Cave 2

207. Main hall, Cave 17

208. 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.

211. Ceiling Paintings Animals & Birds

212. Reclining Bulls Cave 17

213. Cave 1

214. Cave 1

215. Ceiling Paintings In Lighter Vein

216. Cave 1 Cave 2

217. 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!

218. Persian Harem, Cave 2

219. Friends drinking, Cave 2

220. Phases of Ajanta Art

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

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

223. 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

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

225. It is then the decline

226. 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.

227. 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)

228. Phases of Ajanta ArtPre-classical Period (2nd-1st centuries BC)

229. Pre-classical Period 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.

230. Pre-classical Period Shown here is a king with his retinue going towards a temple.

231. 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. Raja with Retinue, Cave 10

232. Pre-classical Period 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.

233. Phases of Ajanta Art Classical Period (4th-5th centuries AD)

234. 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.

235. Classical Period 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 Votaries with offerings, Cave 2

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

237. 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

238. Phases of Ajanta Art Period of Mannerism (5th-6th centuries AD)

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

240. Phases of Ajanta Art Baroque Period (Mid-6th century AD)

241. Baroque Period Baroque is a style of over-ornamentation and exaggeration. 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.

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

243. Baroque Period Maha-janaka Jataka, Cave 1

244. Phases of Ajanta Art Period of Decline (End-6th century AD)

245. Period of Decline Artistic standards were in the decline from the end of the 6th century. Mercifully this phase did not last long, for the Ajanta caves were soon abandoned forever, for reasons unknown.

246. Period of Decline 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

247. Women in a Palace Scene, Cave 1

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

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

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

251. Inspirationat Home

252. 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.

253. Sittannavasal In Tamilnadu Bagh in Madhya Pradesh

254. Inspiration Abroad

255. 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

256. Sigiriya, Srilanka Turfan, China

257. 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.

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

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

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

261. Thank you….

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

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