Ajanta Paintings- Appreciation of Mahajanaka Jataka Composition

Paintings of Ajanta Caves(2nd century BC to 6th century AD)Appreciation ofMahajanaka JatakacompositionbyS. Swaminathan(sswami99@gmail.com),[object Object]

Presented byS. Swaminathan,[object Object]

Mahajanaka Jataka is ,[object Object],an important composition in Cave 1,[object Object],belonging ,[object Object],to the Baroque period (6th century AD).,[object Object],Due to fortunate survival ,[object Object],of most of the composition,[object Object],the narration is taken ,[object Object],for a detailed discussion,[object Object]

The Story,[object Object],Bodhi-sattva born Mahaajanaka,[object Object], whose father was banished,[object Object], from his kingdom,[object Object], by his brother, Pola-janaka.,[object Object],Mahaa-janaka went all over the world,[object Object], as a merchant and,[object Object], amassed enough wealth,[object Object], to help him regain,[object Object], his father's kingdom,[object Object]

The Story,[object Object],Pola-janaka died survived,[object Object], by his most beautiful,[object Object], and haughty daughter, Shivaali,[object Object],Three almost impossible conditions,[object Object], were set to marry her.,[object Object],Mahaa-janaka fulfilled all three,[object Object], and married Shivaali,[object Object]

The Story,[object Object],However, the pomp and luxuries of,[object Object], the palace life was not to his liking.,[object Object],In spite of the pleadings from his queen,,[object Object], Mahaa-janaka finally,[object Object], renounced the world and,[object Object], went to the Himalayas,[object Object], to meditate upon the Truth,[object Object],Narration in this cave starts after,[object Object],the marriage of Mahaa-janka ,[object Object]

Importance of the Panel,[object Object],A major portion has survived,[object Object],Important from art history point of view,[object Object],Composition shows the beginning of,[object Object], deterioration from,[object Object], the classical elegance,[object Object], to baroque ostentation,[object Object]

Importance of the Panel,[object Object],Offers scope for a study of,[object Object], art style and,[object Object], method of narration of this period,[object Object],Provides a wealth of information,[object Object], Regarding,[object Object], jewellery,,[object Object], textile and dress,,[object Object], musical instruments,,[object Object], architecture, etc,[object Object]

Location of Composition,[object Object],Shrine,[object Object],Scenes from this jaataka are painted on the left wall of the main hall,[object Object],Entrance,[object Object],To Cave 1,[object Object]

Composition,[object Object],Story is in four acts:,[object Object],1. The king in dilemma,[object Object],2. He seeks advice from an ascetic,[object Object],3. He abdicates,[object Object],4. He leaves the palace,[object Object]

Composition,[object Object],Act 1,[object Object],King in dilemma,[object Object],Act 2,[object Object],King goes to seek advice,[object Object],Act 3,[object Object],King abdicates,[object Object],Act 4,[object Object],King leaves palace,[object Object],Ship wreck,[object Object],(An earlier scene),[object Object]

Composition,[object Object],Act 1,[object Object],King in dilemma,[object Object],Act 2,[object Object],King goes to seek advice,[object Object],Ship wreck,[object Object],(An earlier scene),[object Object],Act 3,[object Object],King abdicates,[object Object],Act 4,[object Object],King leaves palace,[object Object]

Act OneMahaa-janaka in Dilemma,[object Object],The newly wed king is dissatisfied,[object Object], with the pompous life,[object Object],The queen attempts to captivate,[object Object], him with all her charm,[object Object],The king goes out to seek advice,[object Object], from an ascetic,[object Object]

Scene 1: Queen captivating,[object Object],Scene 2: Dancer with musicians,[object Object]

Mahaa-janaka in Dilemma,[object Object],The bejewelled king,[object Object],does not look at Shivali,,[object Object],but has a wild and,[object Object],vacant look.,[object Object],His right hand,[object Object],suggests despair.,[object Object]

Queen captivating,[object Object],Queen, dressed in,[object Object],‘nakedness', leans,[object Object],against the king.,[object Object],Every line of her figure,[object Object],expresses her attitude of,[object Object],passionate yielding,[object Object]

The Court,[object Object],The maids are looking at,[object Object],the couple. Their looks,[object Object],invite the attention the,[object Object],pathetic king,[object Object],Variation in poses and,[object Object],the varieties of textiles,[object Object],are worth noting,[object Object],A dwarf in attendance,[object Object],sitting on the ground,[object Object]

Musicians accompanying the Dancer ,[object Object],The dancer is,[object Object],supported by,[object Object],musicians playing,[object Object],flute, cymbals,,[object Object],drums and,[object Object],a stringed,[object Object],instrument,[object Object]

Dancing Scene,[object Object],The musicians,,[object Object],like the dancer,,[object Object],show great,[object Object],dynamism and,[object Object],movement,[object Object],Characters shown,[object Object],in variety of body,[object Object],postures,[object Object]

The dancer strikes a graceful pose, her hands a mudra.,[object Object],She wears a long jacket and,[object Object],A close-fitting blouse.,[object Object],Her striped skirt is loose and long.,[object Object],Her ring set with a small mirror, the ear-rings of elaborate design,[object Object],Her head-dress of strings of gold beads or pearls.,[object Object],Her plaits entwined with flowers.,[object Object],The Dancer,[object Object]

The palatial surroundings and decorations,,[object Object],accompaniment of a host of musical instruments,,[object Object],The Scene,[object Object],fantastic garments and elaborate ornaments,[object Object],all successfully contributed to,[object Object],a spectacular scene,[object Object]

Act TwoKings seeks Advice,[object Object],The queen was not successful,[object Object], in her attempt ,[object Object], in holding back the king,[object Object],Mahaa-janaka's mental turmoil,[object Object], has not ceased,[object Object],He goes to Himavali Hills,[object Object], to seek advice from an ascetic,[object Object]

The Scene,[object Object],Ascetic,[object Object],King listening,[object Object],King on an,[object Object],Elephant,[object Object]

Mahaa-janaka goes out,[object Object],Mahaa-janaka goes out through,[object Object],the Palace-gate on an Elephant,[object Object]

Mahaa-janaka meets an Ascetic,[object Object],The ascetic is delivering,[object Object],a sermon. The king,[object Object],listens in deep reverence,[object Object],A pair of deer is seen with,[object Object],faces tilted up,,[object Object],as if in rapt attention.,[object Object]

The King listens tothe Sermon,[object Object],Casting off most ornaments,,[object Object],the king listens to the sermon,[object Object],in great humility and,[object Object],utter surrender,,[object Object],his hands folded in prayer.,[object Object]

Act ThreeMahaa-janaka announces his Decision,[object Object],The enlightened king announces,[object Object], his decision to abdicate,[object Object],The queen listens stoically,[object Object],while the royal household,[object Object], is perplexed,[object Object]

Queen Mother admonishes Shivali,[object Object],Queen-mother admonishes,[object Object], the queen for letting,[object Object], the king meet the ascetic,[object Object]

Mahaa-janka announces his Decision,[object Object],The king, serene and,[object Object],composed, announces,[object Object],his decision to renounce,[object Object]

Shivali receives the News,[object Object],The queen,,[object Object],better clad and composed,,[object Object],receives,[object Object],the heart-breaking news,[object Object]

Bewildered Royal Household,[object Object],All are in great animation.,[object Object],One girl stunned,[object Object], with her eyebrows drawn,[object Object], and eyes dilated.,[object Object],Another is musing with a,[object Object], finger on her cheek,[object Object],Exquisite portrayal of women in varieties of postures ,[object Object]

Act FourMahaa-janaka abdicates,[object Object],Finally, the king leaves the country,[object Object], to meditate on the dharma,[object Object]

Mahaa-janaka Departs,[object Object],King leaves in full,[object Object],regal splendour,,[object Object],led by a procession,[object Object],of his loyal subjects,[object Object]

RoyalMusicians,[object Object],A flautist, a conch-blower, a cymbal player,[object Object],and a mridangist lead the procession,[object Object]

Women watching the Procession,[object Object],Geese-motif of,[object Object],the dress worn by,[object Object],a woman is noteworthy,[object Object],An example of,[object Object],expert draughtsmanship,[object Object],and excellent colouring,[object Object]

Portrayal of Characters,[object Object],This mural affords excellent scope,[object Object], for studying of portrayal of characters,[object Object],Continuity in dress and physical features of characters maintained,[object Object],while bringing out contrast in,[object Object], the expressions of characters,[object Object]

Mahajanaka and Shivali,[object Object],The king depicted three times,[object Object], and the queen twice,[object Object],Though the location the same,,[object Object], the emotional atmosphere,[object Object], different,[object Object]

Mahajanaka,[object Object],In dilemma,[object Object],Listening to Sermon,[object Object],Abdicating,[object Object]

In Dilemma,[object Object],The newly-wed king,[object Object], in regal splendour,[object Object], - two rows of necklaces,[object Object], sparkling with diamonds,[object Object], and pearls, and,[object Object], pearl-studded sacred-thread,[object Object],But he has,[object Object],a vacant look,[object Object],reflecting,[object Object],his mental conflict,[object Object],and his hands,[object Object],showing his inner pain,[object Object]

Listens to Sermon,[object Object],When he met the ascetic the elaborate necklace replaced with,[object Object],a less ostentatious one,[object Object],Now his deportment of humility and utter surrender,,[object Object],his hands folded in prayer.,[object Object]

Abdicating,[object Object],He had cast off,[object Object], every-thing including,[object Object], the sacred-thread, excepting,[object Object], the close fitting beads.,[object Object],His visage is serene,,[object Object], but of determination.,[object Object],His hands compose preaching-attitude,[object Object], showing,[object Object], he has now found,[object Object], the path.,[object Object]

Shivali,[object Object],Captivating,[object Object],Hearing the News,[object Object]

Captivating,[object Object],‘Dressed in nakedness’,[object Object], she is determined,[object Object], to win over,[object Object], her husband using,[object Object], all her charm.,[object Object]

Receiving the News,[object Object],She is now better-draped, sitting before the king,,[object Object],fully composed and ready,[object Object],to receive,[object Object],the heart-breaking news.,[object Object]

Musicians andMusical Instruments,[object Object],Ajanta offers Scope for studying,[object Object], Indian Musical Heritage,[object Object],A Variety of musical Instruments,[object Object], depicted from,[object Object], 2nd Century BC to 6th Century AD,[object Object],Both Continuity and Change,[object Object], over the Ages can be studied,[object Object]

Dancer is accompaniedby musicians playing,[object Object],cymbals and flutes,[object Object], common even today,,[object Object],the bell-shaped drum,,[object Object], closer to today’s ‘udukku’,[object Object], used in folk music,,[object Object],standing drum and,[object Object], strinag instrument,,[object Object], both obsolete.,[object Object]

In the scene of ‘the king abdicating’ the musicians shown playing,[object Object],conch-shell,,[object Object],used even today,[object Object],heralding arrival of,[object Object],gods or dignitaries,,[object Object],mridangam,[object Object],(or pakhawaj) and,[object Object],flutes in use today,[object Object]

Musicians are shown,[object Object],in Padmapani,[object Object],panel, Cave 1,[object Object],in ‘Descent,[object Object],of Indra,,[object Object],Cave 17,[object Object]

Dancers and Dancing,[object Object],Dancers have been portrayed,[object Object], both in the pre-christian era,[object Object], paintings and in the later scenes,[object Object],Change over this period and,[object Object], continuity till date can be studied,[object Object]

Dancing in the Hinayana Period,[object Object],Scanty clothing and,[object Object],ornaments restricted to,[object Object],conch-shell bangles,[object Object],are stamp of,[object Object],unaffected spontaneity,[object Object],of the pre-christian era,[object Object],painting,[object Object]

Dancingin the Mahayana Period,[object Object],Dancing is now more stylised.,[object Object],Beautifully designed garments,,[object Object],the glittering trinkets and,[object Object],bewildering coiffure ,[object Object],of the dancer,[object Object],Dancing pose, gestures,,[object Object],shape of eyes and,[object Object],the general atmosphere ,[object Object],epitomise an advanced,[object Object],phase of dancing,[object Object]

Drawing in Perspective,[object Object],Drawing in perspective gives,[object Object], an illusion of distance.,[object Object],In true perspective,[object Object], the farther objects look small,[object Object]

True Perspective,[object Object],The Monastery in Cave 17,[object Object],is in true Perspective,[object Object]

Reverse Perspective,[object Object],The building,[object Object],in front of which,[object Object],the dancer is performing is drawn,[object Object],in the reverse perspective,[object Object]

Producing Relief through Colouring,[object Object],Ajanta artists have used,[object Object], various techniques,[object Object], for producing depth and relief,[object Object], through skilful use of colours,[object Object],Vartana is a method of shading,[object Object],Ujjotanais adding ‘high-lights’,[object Object],Blue colourfor the background,[object Object]

On shoulder, arms,[object Object],and hands,[object Object],airka, a wash technique,,[object Object],one of vartana methods,,[object Object],is used.,[object Object]

On the forehead,,[object Object],cheeks and nose,,[object Object],to show,[object Object],elevation of form,,[object Object],Ujjotana method,[object Object],of applying white patches,[object Object],can be seen,[object Object]

Blue colour used,,[object Object],especially for background,,[object Object],to create an illusion of depth,[object Object],by contrasting with,[object Object],the warm red,[object Object],and brown colours,[object Object]

Draughtmanship,[object Object],The perfection of,[object Object], painting technique is displayed,[object Object],in the extraordinary,[object Object], breadth and confidence of,[object Object],draughtsmanship,[object Object],- the varying thickness of line drawn,[object Object], with a free flowing sweep,[object Object], of the brush to depict,[object Object],oval faces, arched eyebrows,,[object Object], aquiline noses, and,[object Object], sensitive lips,[object Object]

Draughtmanship,[object Object]

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

Body Postures (Sthaana-s),[object Object],In all the scenes depicted in this narration,,[object Object], every one of the women is shown,[object Object], in different positions,[object Object],from the rijvagata (frontal),[object Object],to parshvagata (strict profile),[object Object], to anriju(back view),[object Object]

Dancing Girlwith Musicians,[object Object]

DisturbedRoyalHousehold,[object Object]

Demarcation of Scenes and Acts,[object Object],The ajanta artists followed,[object Object], certain conventions in,[object Object], composing the narration,[object Object],A gate is often placed to herald,[object Object], the beginning of an act,[object Object],Within an act pillars may,[object Object], separate the scenes,[object Object]

Gate separating Acts,[object Object],Act 1,[object Object],King in Dilemma,[object Object],Act 2,[object Object],King goes to seek advice,[object Object],Act 3,[object Object],King abdicates,[object Object],Act 4,[object Object],King leaves Palace,[object Object],Ship Wreck,[object Object],(An earlier Scene),[object Object]

Pillars,[object Object],separating,[object Object],Scenes,[object Object],King inDilemma,[object Object],Scene 1,[object Object],King in Dilemma,[object Object],Scene 2,[object Object],Dancer with Musicians,[object Object]

Contemporary fashion,[object Object],Ajanta is a treasure house to study,[object Object], the contemporary fashion,[object Object], in textiles, jewellery, etc,[object Object],There are no ‘monotonous’,[object Object], repetitions in the dress ,[object Object]

Textiles,[object Object],The girl sports,[object Object],upper-garment,[object Object],with geese,[object Object],printed on it,[object Object],- a fashion,[object Object],referred to in,[object Object],contemporary,[object Object],literature,[object Object]

The glorious tradition of ,[object Object],ikkat, ,[object Object],a resist-dye method,,[object Object],where yarn is dyed ,[object Object],to produce a design, ,[object Object], leading to today’s ,[object Object],Patola and Pochampalli,,[object Object], was initiated here.,[object Object],Maha-janaka Jataka, Cave 1,[object Object]

Textiles,[object Object],The tailored dress of dancer,[object Object],a proof of high degree of,[object Object],sophistication in,[object Object],both,[object Object],fabric design and dress-making,[object Object]

Jewellery,[object Object],Arsi,,[object Object],Thumb-ring set,[object Object],with a Miniature,[object Object],Mirror,[object Object],Karna-pushpam,,[object Object],Ear-rings of,[object Object],elaborate Design,[object Object],Sharashri,,[object Object],Head-dress of,[object Object],Gold-beads,[object Object],and Pearls,[object Object]

Ajanta Paintings- Appreciation of Mahajanaka Jataka Composition

Hairdress,[object Object],A variety of hair-do,[object Object],seen in Ajanta,[object Object]

This is only a drop of the Ajanta ocean,[object Object]

The narration of,[object Object],Simhala Avadhana,[object Object],and,[object Object],Vishvantara Jataka,[object Object],both in Cave 17,[object Object],belong to the classical period,[object Object],and are of compositions ,[object Object],of unsurpassing beauty,[object Object]

Sutasoma Jataka in Cave 17,[object Object],is an extensive composition,[object Object],of many features,[object Object]

The Mara’s Episode ,[object Object],and Champeyya Jaataka,,[object Object],both in Cave 1, ,[object Object],are of compact design,[object Object],worth studying ,[object Object]

It is not surprising that Ajanta,[object Object],was the source of inspiration,[object Object],for paintings not only of,[object Object],the Indian subontinant,,[object Object],but of almost entire Asia,[object Object],AJANTA IS WORTH A VISIT,[object Object]

Thank you,[object Object],S. Swaminathan,[object Object]

Ajanta Paintings- Appreciation of Mahajanaka Jataka Composition

Ajanta Paintings- Appreciation of Mahajanaka Jataka Composition

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Ajanta Paintings- Appreciation of Mahajanaka Jataka Composition