11575991-ajanta
TRANSCRIPT
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
DF
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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
eilin
g pa
intin
g, C
ave
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
a w
ith r
etin
ue, C
ave
10
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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
ses
of A
jant
a A
rtC
lass
ical
Per
iod
(4th
-5th
cen
turi
es A
D)
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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
vant
ara
Jata
ka, C
ave
17
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Pha
ses
of A
jant
a A
rtP
erio
d o
f M
anne
rism
(5
th-6
th c
entu
ries
AD
)
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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
hura
-pan
dita
Jata
ka, C
ave
2
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Pha
ses
of A
jant
a A
rtB
aroq
ue P
erio
d (M
id-6
th c
entu
ry A
D)
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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
a-ja
naka
Jata
ka, C
ave
1
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Pha
ses
of A
jant
a A
rtP
erio
d of
Dec
line
(E
nd-6
th c
entu
ry A
D)
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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
en in
a P
alac
e S
cene
, Cav
e 1
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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
adhy
a P
rade
sh
Sitt
anna
vasa
l
In T
amiln
adu
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Insp
irat
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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