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FRESCOES
(2nd century BC to
6th century AD)
Introductio
n
Location of
Ajanta
Ajanta
Mumbai
Aurangabad
Mumbai
Period of
Excavation
First Phase
Second Phase
Mahayana period (4th 6th centuries AD)
Patronage
Re-discovery
Mural
Reproduction by
Layout of
the Caves
The caves,
lying deep inside the Sahyadri Hills,
are hollowed out on the deep face
of a horseshoe-shaped hillside
with the Waghora river
flowing through it.
Layout
19
17
16
Views of
the Caves
Rock-cut
Architecture
Chaitya-Facade
Relief sculptures
added in
Mahayana period
Chaitya - Interior
Interior consists of
a long vaulted nave
with a pillared aisle
on either side
Arched
roof
Stup
a
Far end is
semicircular Pillared
aisle
with a stupa at its
centre
Vaulted
Vihara - Plan
Shrine
Cells
It has
a congregation hall
with cells
for the monks
on the inner sides
Later a shrine
was excavated
at the far end
Hall
Entrance
Vihara - Interior
On the left to the entrance is
the famous painting of Padmapani
Vihara - Interior
Cave 2
Sculpture
Maha-pari-nirvana, Cave 26
Maha-pari-nirvana, Cave 26
Themes
Jataka Stories
The subjects of the paintings are
mostly from
the jataka-s,
Buddhist mythological stories
of the previous lives
of the Master
Jataka Stories
Solo Pictures
Religious
There are
a few compositions
of divinities,
but these are not
part of any story.
Solo Pictures
Secular
Decorative
Mythical birdsClown
Floral design
eometrical design
Hilarious themes
Animals
Composition
Matri-poshaka Jataka
Cave 17
Bodhisattva born as Matri-poshaka,
a white elephant, lives in a forest
taking care of his blind parents.
Once the elephant rescues a man, and
requests him
not to divulge his presence to any
one.
Scene 1
Scene 1
Scene 2
Scene 1
Scene 3
The king supervises feeding the elephant,
but the elephant refuses to eat.
Before the brooding elephant some food in a large
vessel and sugarcane are lying about.
Scene 2
Scene 1
Scene 4
Scene 2
Scene 3
Scene 1
Scene 3
Scene 4
Scene 2
A gateway
may mark the end of an
act
In a palace scene
pillars may separate the
scenes
Maha-janaka Jataka, Cave 1
Painting
Technique
Indian
wall-paintings
are done on dry
wall, called
fresco secco
Indras Descent, Cave 17
In the West
painting is done
on a moist wall,
called fresco
Preparation of Wall
We have no clue to the technique
of preparing the wall.
But the treatises
which were written later
based on the Ajanta
experience
give us an idea.
For example,
Vishnu-dharmottara (7th
century)
explains the process of
Pigments used
Most pigments were minerals
available locally:
red ochre, vivid red, yellow ochre,
indigo blue, chalk white,
terra verte and green
Only Lapis lazuli was imported
Lamp-black was the only non-mineral
Painting Sequence
A preliminary sketch in iron ore
was drawn while the surface
was still slightly wet,
followed by an under-painting in
grey or white.
On this surface the outline was
filled in
with various colours,
proceeding from underpainting
to the appropriate colours
of the subject.
Painting Sequence
Painting
Tradition
rUpa-bheda
differentiation
pramANam
proportion
bhAva
suggestion of mood
lAvaNya-yojanam
infusion of grace
sAdRShyam resemblance
vArNika-bhangam application of colour
Producing
Depth &
Relief
Perspective
An example of
expert rendering
in normal
perspective
A Monastery,
Shibi Jataka, Cave 17
Multiple Vision
A technique of painting scenes
from different angles and merging
them,
similar to the modern technique
called Multiple Vision.
Details
of the farthest pavilion
would be lost
in normal perspective
Three separate
shots dissolved
to show action
in all the
pavilions
Multiple Vision
Using Colours
Animnonnata
Nimnonnata
Vartana
shading
techniques
choosing
judiciously
Ujjotana
tones and colours
a technique of
adding highlights
Vartana
A high-relief technique
to produce
an illusion of
the third dimension
There were three main variations
Patraja (shading-like-the-lines-of-a-leaf)
Chaya-tapa
(shade-and-shine)
A technique
that produces
a chiaroscuro effect
Painting
&
Dance
Unique relation
in Indian art
Tribhanga Pose
Tribhanga Pose
Painting
&
Sculpture
Another unique
relation
Cave 6
Entrance, Cave 17
Symbolism
in Indian Art
Other Metaphors
simha-kati
(body-of-a -lion)
gomukha khanda
(cow's-head)
pada-pallava (feet-like-leaves)
charana-kamala (feet-like-lotus)
Body
Postures
(sthana-s)
In Indian tradition
the postures of the body were identified
and
distinct terms were used
to cover the entire range
rijva-gata
(Strict profile)
to
parshva-gata
(Frontal)
It is possible
that this was
greatly influenced
by the contemporary
dance traditions.
A woman listening
to a sermon is
an excellent study
This is particularly so
with the depiction
of women shown
in congregation
Draughtmans
hip
Drawings with
a free flowing
sweep of the brush
to depict oval faces,
arched eyebrows,
aquiline noses, and
fine sensitive lips
are aplenty on the walls
of Ajanta
A relaxed
monkey,
consisting
basically of
one masterly
sweep of brush
starting
beneath chin
and
forming a curve
outlining head
and spine
and terminating
Portrayal
Portrayal of
of
Women
Women
The woman
was the theme
that gave full scope
for expression
of creative genius
for the Ajanta artist.
Clothed in Nakedness
It is intriguing that
most of Ajanta
heroines
are depicted naked,
or in near nudity,
while all the others
in the same scene
are fully clothed
Clothed in Nakedness
Janapada-kalyani
Conversion of Nanda, Cave 1
Clothed in Nakedness
Queen Shivali
Maha-janaka Jataka, Cave 1
Clothed in Nakedness
Clothed in Nakedness
Nandas wife,
the central figure,
is naked
whereas all
the maids are
fully clothed.
The Dying Princess
Conversion of Nanda,
Cave 16
Black is Beautiful
Black is Beautiful
Consort of Padma-pani
Padma-pani Panel, Cave 1
Black is Beautiful
Black is Beautiful
Black Apsaras
Adoration of the Buddha Panel
Cave 17
Black is Beautiful
Common People
A Village Woman
attending Coronation
Vishvantara Jataka, Cave 17
Common People
Depiction of
Movement
Vishnu-dharmottara
says:
"He, who paints waves,
flames, smoke,
according to
the movement of the
wind,
is a great painter."
Ajanta painters took
great pleasure
in composing scenes
involving movement
with great zest.
Indras Descent,
Cave 17
Humour
Attendant
Champeyya Jataka, Cave 1
Musical
Heritage
Musical Heritage
Musical Heritage
Flute
Cymbals
Flute
Vertical
Drum
Small Drum
Musical Heritage
The abdicated king is
given a royal send off
with musician forming
part of the procession
Conch
Flute
Mridangam
Musical Heritage
Musical Heritage
Cymbal
Cymbal
Flute
Drum
Contemporar
y Fashion
Ajanta is
treasure-house
to study
contemporary
fashion
in textiles,
jewellery, etc.
Maha-janaka Jataka,
Cave 1
Sophisticated ornaments
an be seen
on the dancer
Karna-pushpam,
Ear-rings of elaborate Desig
Sharashri,
Head-dress of Gold-beads
and Pearls
Hairdress
Ceiling
Paintings
Flowers
Animals/Birds
Geometrical
In lighter
vein
Cave 2
Ceiling Painting
Ceiling
Paintings
Animals & Birds
Reclining Bulls
Cave 17
Cave 1
Cave 1
Ceiling
Paintings
In Lighter Vein
Cave 1
Cave 2
Phases of
Ajanta Art
In most forms of
art
one may discern
a gradual and
natural
progression.
A lack of experience
in making and employing tools,
in narration, etc,
is generally the beginning.
This is often called archaic style.
Repetition of ideas,
called mannerism
is perhaps the next stage
to be followed
by over-ornamentation,
a style known as baroque.
e-Classical Period
Classical Period
(2nd-1st Centuries B
Period of Decline
Phases of
Ajanta Art
Pre-classical Period
(2nd-1st centuries BC)
Pre-classical Period
The earliest paintings of
Ajanta
of the 2nd-1st century BC
cannot
be classified
as
These paintings
present
archaic.
lively men and animals.
They belong to
the transitional period
that was to carry them on to
the classical phase.
Pre-classical Period
Pre-classical Period
Shad-danta Jataka, Cave 10
Phases of
Ajanta Art
Classical Period
(4th-5th centuries AD)
Classical Period
This style means perfect mastery
of the subject.
Everything is idealised,
realism is only for creating
things of beauty and perfection.
There is a dignity and nobility,
and allows
no exaggeration, no excess,
no overstatement and
no dramatisation.
Classical Period
Calm, unobtrusive
modelling and the gentle,
swaying movement
of the characters
bear the stamp
of the classical period.
A wash technique,
called airika
creating
an illusion of
Votaries with offerings,depth
Cave 2
The Prince is
informing his wife of
his impending exile
and is offering wine
to steady her.
The posture of
the couple and
the sombre colours,
make the painful scene
striking.
Belonging to
the classical period,
the scene brings out
the emotional
atmosphere
effectively.
Visvantara Jataka, Cave 17
Phases of
Ajanta Art
Period of
Mannerism
(5th-6th centuries AD)
Period of Mannerism
A departure from classicism can be
seen
in monotony in the sitting posture and
in the overcrowding.
Phases of
Ajanta Art
Baroque Period
(Mid-6th century AD)
Baroque Period
Baroque is a style of
over-ornamentation and exaggeration.
Baroque Period
The Bodhisattva is
heavily bejewlled and
His eyes elongated
out of proportion.
Baroque Period
Phases of
Ajanta Art
Period of Decline
(End-6th century AD)
Period of Decline
Artistic standards
were in the decline
from the end of the 6th century.
Mercifully this phase did not last long,
for the Ajanta caves were soon
abandoned forever,
for reasons unknown.
Period of Decline
The poses are now
exaggerated
with heavy heads,
elongated eyes,
thin legs,
superfluous hand
gestures, etc.
The composition
is too crowded.
The execution
becomes careless
Period of Decline
The figures of
the Buddhas came
to be enclosed
in separate cubicles
Period of Decline
This presentation
of figures of the Buddhas,
lacks refinement and finish.
Period of Decline
In place of shapely
palms and
Sensitive fingers,
they are stiff and
simplified.
The face lacks
expression.
Inspiration
at Home
Sittannavasal
In Tamilnadu
Bagh
in Madhya Pradesh
Inspiration
Abroad
Sigiriya, Srilanka
Turfan, China
Thank
S. Swaminathan
S. Swaminathan
(sswami99@gmail.com)
www.pudukkottai.org/swaminathan