indian art appreciation

Slide 1

THE AJANTA FRESCOES(2nd century BC to 6th century AD)

11: (Title)Introduction21. Introduction

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.

32Ajanta is a great art treasure# Its caves are a fine example of rock-cut architecture# They contain some exquisite sculptures, and more importantly, paintings of unrivalled beauty.

In these caves can be seen the development of Artfrom early phase of the pre-Christian era, reaching classical perfection,

falling off into mannerism and then to baroque ornamentationand, finally, lapsing into artistic decline

43In these caves one can see the progress # from the early phase of paintings of the pre-Christian era# reaching classical perfection by the 4th-5th centuries, # to the falling off into mannerism and then to baroque ornamentation and, # finally, lapsing into artistic decline before the caves were ultimately abandoned by the 6th century AD.

Ajanta is a storehouse of information about the period: ideas of beauty & morality, music, jewellery, customs and textile design, costumes, court etiquette and social order.

54Ajanta a storehouse of information about the period: # costumes, # textile design# Jewellery# musical instruments # social order# court etiquette # ideas of beauty# customs, and # their sense of wit

The paintings tell us about the technical aspects of their art: preparation of ground, execution of painting itself with sense of perspective, space division, color-overlay, preparation of the pigments, harnessing of visual and tactile senses, pacing of the narrative.

65The paintings tell us about the technical aspects of their art: # reparation of the ground# execution of the painting itself # with sense of perspective, space division, colour-overlay, # preparation of the pigments# harnessing of the visual and tactile senses# pacing of the narrative

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

76The Ajanta paintings are the earliest surviving paintings of India, religious or secular# This spirit of Ajanta influenced the religious art of the whole of Asia

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

87In fact the Ajanta painting tradition is truly an indigenous religious art tradition. This is true of other Indian religious art forms like Hindu and Jaina. # The Buddha and His disciples were Indians. # The Indian artist did not feel the need to make a translation from foreign to familiar terms, as did the medieval artists of Europe and the Buddhist Asian countries.

Location of Ajanta

9The 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 Aurangabad would be rewarding, as the equally important monuments of Ellora are only about 30 km away.10The possible explanation forthe monastic establishment at Ajanta is its proximity to the ancient trade routes.11

AjantaMumbaiAurangabadIt is about 100 km from Aurangabad

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Mumbai

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Period of Excavation

1410 (Title: Period of Excavation)

First PhaseHinayana 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.

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Second PhaseMahayana period (4th 6th centuries AD)The second phase was of greater artistic activity at Ajantaand the remaining caves were excavatedduring the rule of the Vakataka and the Chalukya dynasties from the 4th to the 6th centuries AD.

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Patronage

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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 the Hindu rulers.

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Re-discovery

20The 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.21James 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 1933.22

Rahula and Yashodhara meet the Buddha, Cave 17

Reproduction by Herringham

Mural

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Layout of the Caves

24The 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. 25

Layout2176116910232719 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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The caves are aligned in a horseshoe form. There are a total of twenty-nine caves. The caves are numbered not on the basis of period of excavation, but on the basis of their physical location. The general arrangement was not pre-planned, as they sprang up sporadically in different periods.

Views of the Caves

27Here are some enchanting views of the caves28

2920. The caves extend along a concave line running from east to west for about six hundred meters.

When one approaches the site the unexpected sighting of the caves around the horseshoe shaped gorge is breathtaking.

3023 Here is another enchanting view.

Undoubtedly suited for uninterrupted meditation and contemplation

3124 One can have no doubt about the suitability of the location for uninterrupted meditation and contemplation.

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

3225A narrow pathway connects the caves to go on a pilgrimage to the highest achievement of Indian Buddhist art

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Rock-cut Architecture

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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-carversjoining 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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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.

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Mahayana period facade embellished

4029 (No commentary)

4130The caves of Ajanta offer an instructive field for the study of the evolution of cave architecture. Cave architecture 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. Probably drawn from the profession of carpenters, with goldsmiths and ivory-carvers joining hands with the sculptors.

Chaitya-s TemplesVihara-s - MonasteriesThe caves of Ajanta are divided into

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The entrance hasa prominentarched windowto lightthe interiorRelief sculpturesadded inMahayana periodChaitya-Facade

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Arched roofVaulted navePillaredaisleStupaChaitya - InteriorInterior consists ofa long vaulted navewith a pillared aisleon either sideFar end is semicircular with a stupa at its centre

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HallShrineCellsEntranceVihara - PlanIt hasa congregation hall with cellsfor the monkson the inner sidesLater a shrinewas excavatedat the far end

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A colossal statue of the Buddha is seen in the sanctumOn the left to the entrance is the famous painting of PadmapaniVihara - Interior

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Cave 2Vihara - Interior

4736Cave 2 has preserved the best paintings on the ceiling. Here we are viewing the Sanctum from the Hall

Sculpture

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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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Maha-pari-nirvana, Cave 26

5140A fine sculptural composition of Maha-pari-nirvana, the Final Extinction of the Master

Maha-pari-nirvana, Cave 26

5241Another view of Maha-pari-nirvana

Naga King and his consort Cave 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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Hariti Shrine, Cave 2

5544 (No commentary)

Sculpture at the EntranceCave 17Every one of the sculptureswas plastered and painted.But most of the plasteris now lost.

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Themes

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

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

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A Scene from Shibi Jataka, Cave 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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Life of the BuddhaGautama 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.When this failed, Mara summoned his demons to dislodge Gautama. But Gautama was calm and unmoved.

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Maras Episode, Cave 1

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On the way to Her parents houseMayadevi gave birth to Siddharta in 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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A Scene from The Birth of the Buddha, Cave 2

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Solo PicturesReligiousBodhisattva Avalokiteshvara, Cave 1There area few compositionsof divinities,but these are notpart of any story.

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

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Lady doing her make-up, Cave 17

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

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Hilarious themesMythical birdsClownGeometrical designAnimalsFloral design

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Composition

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

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Earlier phase (2nd - 1st centuries BC)The Raja with his Retinue, Cave 10Narration arranged isin 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 actharmoniously. 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 JatakaCave 17

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

7751. In later centuries the paintings overspread the entire surface of the wall like this narration of Matri-poshaka Jataka.

Bodhisattva was born as a magnificent white elephant in the Himalayas. His both the parents were blind and the white elephant took care of them with utmost devotion.# The scene one shows King Brahma-datta of Varanasi, who had lost his royal elephant, announcing a reward for getting a suitable one.On the basis of information given by a greedy person, who was helped by the white elephant when he lost his way in the forest, the king sent his army and caught the animal. # The elephant, in spite of his might, allowed himself to be bound and brought to Varanasi. This is the second scene.# But in the royal stable where he was housed he refused to eat the sumptuous food offered to him, which is shown in Scene 3.The astonished kind wanted to know the reason.

# In the next scene we his letting loose the elephant and following the same along with his solders.# The last is the forest scene. On reaching the forest the elephant met his old, blind parents and caressed them lovingly. The king was overjoyed with the devotion shown by the animal to his parents and allowed him free in the forest itself.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.

Here we witness an interesting feature of the Ajanta narration, both during this period as well as the earlier period, a strict chronology of events was not followed. In many panels, like this one, we can see that scenes are grouped according to the location of the scenes rather than the chronological sequence.For example events that took place in the palace are shown on the top row and forest scenes are depicted on the lower row.

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






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






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






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






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 1In a palace scene pillars may separate the scenesA gateway may mark the end of an act

8361Thus in a palace scene pillars may separate the scenes and # gateways, may mark the end of one act and the beginning of the next one.

Painting Technique

84Indian wall-paintings are done on dry wall, called fresco seccoIn the Westpainting is doneon a moist wall,called fresco buonoIndras Descent, Cave 17

Last Supper, da Vinci85It 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.

86We have no clue to the technique of preparing the wall. But the treatises which were written later based on the Ajanta experience give us an idea. For example, Vishnu-dharmottara (7th century) explains the process of preparing the base plaster and the finish coat, called vajralepa.Preparation of Wall

87It consisted of powdered brick, burnt conches and sand, mixed with a molasses and decoction of Phaseolus munga.To this were addedmashed ripe bananas or tree resins and the pulp of bilva fruit.After drying it was ground down and mixed with molasses and water until became soft for coating.Preparation of Wall Base Plaster

88Buffaloskin 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 mediumfor coating walls.Preparation of Wall Finish Coat

89Pigments usedMost pigments were minerals available locally:red ochre, vivid red, yellow ochre, indigo blue, chalk white, terra verte and green Only Lapis lazuli was importedLamp-black was the only non-mineral

90Painting SequenceA preliminary sketch in iron ore was drawn while the surface was still slightly wet,followed by an under-painting ingrey or white. On this surface the outline was filled in with various colours, proceeding from underpaintingto the appropriate colours of the subject.

91Painting SequenceFinally, 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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Painting Tradition

93The 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.

94To get to know this great tradition one may turn to the treatises written based on the Ajanta experiment.

95Treatises were codified based on Ajanta experienceBrihat-samhita (6th century)Kama-sutra (6th century)Vishnu-dharmottara (7th century)Samarangana-sutra-dhara (11th century)

96Six Limbs of Paintingaccording toKama-sutra, a well-known treatise on erotics rUpabhedapramANAni bhAvalAvaNya yojanam sAdRShyam vArNikabhangam iti chitram shaDAngakamrUpa-bheda differentiation pramANam proportionbhAva suggestion of mood lAvaNya-yojanam infusion of grace sAdRShyam resemblancevArNika-bhangam application of colour

97Eight Limbs of Paintingaccording toSamarangana-sutra-dhara,a treatise on ArchitecturebhUmi-bandhana preparation of surfacevarnika crayon workrekha-karma outline worklakshaNa features of facevarna-karma colouringvartana-karma relief by shadinglekha-karma correctiondvika-karma final outline

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Producing Depth & Relief

99From 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 17PerspectiveAn example ofexpert renderingin normalperspective

101Multiple VisionA 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 actionin all the pavilions

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Lustration & Renunciation, Cave 1Multiple Vision104

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

10577Foreshortening is a technique in drawing to represent an object by making certain lines shorter to give an effect of distance and perspective.

Called kshaya-vriddhi, literally loss-and-gain is another method used by the Ajanta artist.

# This Charging Bull, a detail from the ceiling of Cave 1, is an example of use of this technique.

(SSSS> Crop from the to and fill upTwo main techniques were employed animnonnata - flat stylenimnonnata - relief by shading Using Colours

106AnimnonnataA 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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Shibi Jataka, Cave 1

108Nimnonnata Vartanashading techniqueschoosing judiciously tones and coloursUjjotanaa technique ofadding highlights

109VartanaThere were three main variations

A high-relief techniqueto produce an illusion of the third dimension110Patraja (shading-like-the-lines-of-a-leaf)Illusion of depth is achieved by drawing lines to follow contours of the body111

A Ceiling Painting, Cave 1

112Binduja (dot-and-stipple method)Illusion of depth is achieved by painting dots with variations in concentration of dots113

A Ceiling Painting, Cave 2

114Illusion of depth is achieved by executing tonal variation and avoiding hard-lines

Airika (a wash technique)115

Children playing with a Hen, Cave 2

116Ujjotana (adding highlights)Highlights in the form of white patches added on the cheeks, the chin, the nose, etc to get a three-dimensional effect117

A woman in a Palace Scene, Cave 1

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Chaya-tapa (shade-and-shine)Bodhisattva Padmapani, Cave 1A techniquethat producesa chiaroscuro effect

119Use 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 tones120

Simhala Avadana, Cave 17

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Painting &DanceUnique relation in Indian art

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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 attaininga proper expression of feelingin paintingwithout the knowledge of dance

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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

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Raja with his Retinue, Cave 10

12590There are paintings from the earliest as well as the latest periods of Ajanta art, which depict dance scenes. # Here is an unaffected dancer from pre-Christian era

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

12791Dancing had become highly stylised in the later period. (Picture)A dancer with full complement of accompanying musicians is from Mahajanaka Jataka of Cave 1.# The vibrant grace of pose and gesture of these dancers invests them with a swaying, flower-like rhythm and movement.

Tribhanga is a very important feature in the depiction of the human form.The whole figure is structured around three main axes.Tribhanga Pose12892A very important feature in the depiction of the human form, particularly of women is the emphasis on her gait, and the whole figure structured round three main axes in order to conform to this tribhanga pose. (Pictures)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 Pose129

Painting &SculptureAnother unique relation

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

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Cave 6

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

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Entrance, Cave 17

13496In Ajanta and elsewhere even the sculptures were fully painted, though most of the paint has disappeared.

The blending achieved must have been astonishing when the stone carvings were bedecked in colours, falling in line with the colour-scheme of the murals,like this entranace to cave 17. (Picture Follows)One can only imagine the riot of colours of the original!

Symbolismin Indian 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. 136

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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Bodhisattva Padma-paniCave 1His divine face hasthe shape of an egg

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Bodhisattva Padma-paniCave 1

His shoulders are like massive domed head of an elephant, and arms like its tapered trunk

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His hands are supple like flower-bud140gomukha khanda (cow's-head)simha-kati (body-of-a -lion)

Other Metaphors141

pada-pallava (feet-like-leaves)142

charana-kamala (feet-like-lotus)

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Body Postures(sthana-s)

144rijva-gata(Strict profile)toparshva-gata(Frontal)

In Indian tradition the postures of the body were identified and distinct terms were used to cover the entire range145It is possible that this was greatly influenced by the contemporary dance traditions.

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

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

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Chempayya Jataka, Cave 1This is particularly so with the depictionof women shownin congregation

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Draughtmanship

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Drawings with a free flowing sweep of the brushto depict oval faces, arched eyebrows,aquiline noses, andfine sensitive lipsare aplenty on the walls of Ajanta

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Maha-janaka Jataka, Cave 1

152112 No text

Shad-danta Jataka, Cave 17A relaxed monkey,consisting basically of one masterlysweep of brushstarting beneath chinand forming a curveoutlining headand spineand terminatingbeneath knee-cap

153Portrayal of Women

Portrayal of Women

154114 Title

Women of Ajanta are the art connoisseurs 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 reproducingthe soft roundness of her breasts, the curves of her hips,the turn of her head, the gestures of her hands andthe slanting glance of her eyes.

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Clothed in NakednessIt 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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Clothed in NakednessJanapada-kalyaniConversion of Nanda, Cave 1

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Queen ShivaliMaha-janaka Jataka, Cave 1

Clothed in Nakedness

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Maya-devi, Siddhartas MotherNativity of the Buddha, Cave 2Clothed in Nakedness

161121The divine mother is painted in the nude.

The Dying PrincessConversion of Nanda, Cave 16

Nandas wife,the central figure,is nakedwhereas allthe maids arefully clothed.Clothed in Nakedness

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Many heroines of Ajanta are dark complexioned. Perhaps contemporary taste included black as an attractive complexionfor skin.

Black is Beautiful

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Consort of Padma-paniPadma-pani Panel, Cave 1Black is Beautiful

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The Dying PrincessConversion of Nanda, Cave 16Black is Beautiful

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Black ApsarasAdoration of the Buddha PanelCave 17Black is Beautiful

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Black is BeautifulShakti Pandara, Avalokitesvara Panel, Cave 1

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A Village Woman attending CoronationVishvantara Jataka, Cave 17

Common People

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Woman braiding HairVishvantara Jataka, Cave 17Common People

169128An example of routine activities taken for portrayal is this hair-dressing scene, again from Visvantara jataka

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

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Depiction of Movement

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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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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

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Indras Descent, Cave 17

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

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Subjugation of Nalagiri, Cave 17

176133A mad elephant was let loose on the Compassionate One by his envious half-brother. In this scene of elephant on the rampage, portrayed in Cave 17, great dynamism is evident.(Picture follows)

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

177134A charging bull painted on the ceiling of cave one is another example in depicting movement

Fighting Bulls, A painting on a pillar, Cave 1

178135Another is this composition of fighting bulls.

Humour

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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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Champeyya Jataka, Cave 1Attendant

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Hariti shrine, Cave 2

On the pedestal of Goddess Hariti is shown a class-room.While the students in the front rows are attentive to the teacher, the backbenchers are enjoying themselves by chasing a ram!

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Musical Heritage

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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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Musical HeritageQueen Shivali arranges A programme of dancewith a full compliment of accompanying musicians in order to draw the king towards worldly pleasures

Small DrumVerticalDrumCymbalsFluteFluteDancer with Musicians, Maha-janaka Jataka, Cave 1

Musical Heritage

The abdicated king isgiven a royal send offwith musician formingpart of the procession

MridangamFluteConchKing abdicating, Maha-janaka Jataka, Cave 1

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

189123. Again in Cave 1 in the famous composition of Bodhisattva Padmapani we find a kinnara playing a kachchapa-vina, an instrument that looks closer to the modern mandolin.

The use of plectrum is another feature to be noted.

Musicians form the entourageWhen Indra descends To worship the BuddhaMusical Heritage

Descent of Indra, Cave 17CymbalCymbalFluteDrum

191The entrance to Cave 17 contains a painting of Indra along with divinities coming down to the earth to worship the Buddha. His entourage includes a number of musicians like drummers and flute players.

Contemporary Fashion

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

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

The glorious tradition of ikkat, a resist-dye method,where yarn is dyed to produce a design, leading to todays Patola and Pochampalli,was initiated here.Maha-janaka Jataka, Cave 1

The tailored dress of dancera proof of high degreeof sophistication inboth fabric design anddress-making

Maha-janaka Jataka, Cave 1

Maha-janaka Jataka, Cave 1Sophisticated ornaments can be seenon the dancerArsi, Thumb-ring setwith a Miniature Mirror

197Sophisticated ornaments must have been used, as may be seen in the stylistic jewellery on the dancer:

Arsi, Thumb-ring set with a Miniature Mirror

Karna-pushpam, Ear-rings of elaborate Design

Sharashri, Head-dress of Gold-beads and Pearls


198 Sophisticated ornaments must have been used, as may be seen in the stylistic jewellery on the dancer:





199Sophisticated ornaments must have been used, as may be seen in the stylistic jewellery on the dancer:




Hairdress

Ceiling Paintings

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

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

In lighter veinGeometricalFlowersAnimals/Birds

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

Cave 2

Hariti shrine, Cave 2Ceiling Painting

Main hall, Cave 17

207And in centre of the main hall

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

Ceiling PaintingsAnimals & Birds

Reclining BullsCave 17

212 bulls in repose or in fight,

Cave 1

213They, along with creepers and flowers, fill up the face harmoniously.

In sheer dynamism and movement the animals on the ceiling, one may say, are superior to the compositions on the wall!

Cave 1

214mythical animals and birds.

Ceiling PaintingsIn Lighter Vein

Cave 1Cave 2

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 companywith wine!

Persian Harem, Cave 2

218The most intriguing and least expected in a religious shrine are the scenes, depicting a king in his harem

Friends drinking, Cave 2

219146. and friends enjoying each other's company with wine!

Phases of Ajanta Art

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

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

Then follows a mature phase, a phase of quiet dignity without excesses;

and the artists prefer studied dignity and what they call 'good taste'.This is the classical phase

Repetition of ideas, called mannerism is perhaps the next stage

to be followed by over-ornamentation,a style known as baroque.

It is then the decline

By sheer chance, the development of style from the beginning to its final declinecan be witnessed within the physical limits of Ajanta.In this respect Ajanta has no parallel.

Pre-Classical Period(2nd-1st Centuries BC)Classical Period(4th-5th Centuries AD)Period of Mannerism (5th-6th Centuries AD)Baroque Period (Mid-6th Century AD)Period of Decline(End-6th Century AD)

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

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

Pre-classical PeriodShown here is a king with his retinue going towards a temple.

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

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

Phases of Ajanta ArtClassical Period (4th-5th centuries AD)

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 allowsno exaggeration, no excess, no overstatement and no dramatisation.

Votaries with offerings, Cave 2

Calm, unobtrusivemodelling and the gentle,swaying movementof the charactersbear the stampof the classical period.A wash technique,called airika creating an illusion of depthis employed here

Classical Period

The Prince is informing his wife of his impending exileand is offering wineto steady her.

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

Phases of Ajanta ArtPeriod of Mannerism (5th-6th centuries AD)

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

239 Scenes from the Vidhura-pandita Jataka are shown here. There is monotony in the sitting posture of Vidhura-pandita.

There is also overcrowding in the scenes, a departure from classical harmony.

Phases of Ajanta ArtBaroque Period (Mid-6th century AD)

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

Action takes place in a maze of pillars in royal pavilions.The eye-slits are stretched out of proportion.Men look effeminate and women exaggeratedly feminine. Both men and women wear excessive ornaments.

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

242Bodhisattva Padmapani is heavily bejewlled and conforming to the baroque style His eyes elongated out of proportion.

Maha-janaka Jataka, Cave 1Baroque Period

243Maha-janaka Jataka, a painting in Cave 1, is a fortunate survival of the ravages of time.

This is an excellent example of the baroque period.

Phases of Ajanta ArtPeriod of Decline (End-6th century AD)

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

Period of DeclineMercifully this phase did not last long, for the Ajanta caves were soon abandoned forever, for reasons unknown.

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

Period of Decline

Women in a Palace Scene, Cave 1

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

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

249 Even more deplorable is the presentation of figures of the Buddhas as a scene from the Miracle of Sravasti.

Compared with the other Buddhas on the walls of Ajanta painted earlier, those that are painted this way lack refinement and finish.

The colours are naive, flat and unnuanced and the lines wanting in feeling.

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

250In place of the shapely palms and sensitive fingers, they are rather stiff and simplified, and have nothing in common with the linear expression of soft curves typical of Ajanta.

Inspirationat Home

The paintings of Ajanta, in style, in type and in technique, exerted their influence on Indian art for centuries to follow.The paintings in the Bagh caves in Ellora, in Sittannavasal, are perpetuation of the refinement of the great murals of the Ajanta caves.

Bagh in Madhya PradeshSittannavasalIn Tamilnadu

Inspiration Abroad

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

Sigiriya, Srilanka

Turfan, ChinaThe end of the Ajanta epochThe creative period of Ajanta endedas mysteriously as it had begun.Some of the unfinished caves,which were quite obviouslyabandoned unexpectedly,show that the emigration took placeover a comparatively short span of time.257The 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 evacuation took place over a comparatively short span of time.Even if some of the caves continued to be lived in for a few hundred years after the 6th century,the merchant wealth that financed the decoration and ornamentation of the shrines had apparently been exhausted. A parallel to such an unceremonious end can be seen in the abrupt cessation of sculptural activities in Mahabalipuram almost around the same time as that of Ajanta, leaving behind almost all the sculptural masterpieces incomplete.

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

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

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

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

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

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

Thank you.

261Contact me through: [email protected] my details at: www.pudukkottai.org/swaminathanS. Swaminathan

262Conceived and presented byS. Swaminathan([email protected])www.pudukkottai.org/swaminathanwith assistance fromR. Murugapandian & M. V. Kiran

Feb, 2005

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indian art appreciation

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