Paintings of

Ajanta Caves
(2nd century BC to
6th century AD)

S. Swaminathan
(sswami99@gmail.com)

Introduction

Ajanta isIts
They
a great
contain
art
some
exquisite
caves
aretreasure.
a fine
example
of sculptures,
and more importantly,
rock-cut architecture.
paintings of unrivalled beauty.

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

Ajanta
is a its
storehouse
textile
sense
design,
of
wit.
of information
musical
heritage,
ideas
of
court
customs
beauty
social
Jewellery,
costumes,
etiquette,
order,
and
and
morality,
about the period:

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

The spirit of Ajanta

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

The Indian artist, while depicting Buddhist

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

Location of
Ajanta

The caves of Ajanta are situated

in the district of Aurangabad
in the state of Maharashtra.
Ajanta is about 100 km from Aurangabad and
about 60 km from Jalgaon.
An extended stay at Aurangabad
would be rewarding,
as the equally important
monuments of Ellora are
only about 30 km away.

The possible explanation for

the monastic establishment at Ajanta
is its proximity to the ancient trade routes.

Ajanta

Mumbai

Aurangabad

It is about 100 km from Aurangabad

Mumbai

Period of
Excavation

First Phase

Hinayana period (2nd - 1st centuries BC)

The earliest caves (Nos. 8, 9, 10, 13 & 15A)

were excavated
during the rule of the Satavahana-s,
who had their capital at Pratishthana.
During their rule there was
brisk trade and commerce
within the land and
with the Mediterranean world,
which brought in enormous riches.

Second Phase

Mahayana period (4th 6th centuries AD)

The second phase was of

greater artistic activity at Ajanta
and the remaining caves were excavated
during the rule of
the Vakataka and the Chalukya dynasties
from the 4th to the 6th centuries AD.

Patronage

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.

The entire Ajanta chapter is

a tribute to the religious tolerance
of the Hindu rulers.

Re-discovery

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.

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.

Rahula and Yashodhara meet the Buddha,

Cave 17

Mural

Reproduction by Herringham

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
17
19

16

The caves are aligned

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

2
1

Views of
the Caves

Here are some enchanting views of the caves

Undoubtedly suited for uninterrupted

meditation and contemplation

A narrow pathway connects the caves

to go on a pilgrimage
to the highest achievement of Indian Buddhist art

Rock-cut
Architecture

The caves of Ajanta offer an instructive field

for the study of the evolution of
rock-cut architecture.

It is unique in the sense

that it can be viewed
as an enterprise of a sculptor.
The cave architecture,
at Ajanta and elsewhere,
betrays the strong influence
of wooden construction.

The team was probably drawn from

the profession of carpenters,
with goldsmiths and ivory-carvers
joining hands with the sculptors.

The evolution of rock architecture

took place during two periods:
the Hinayana period
of the pre-Christian era and
the later Mahayana period.

Hinayana period (2nd - 1st centuries BC)

During the first phase

the sculptural activity
was limited.

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.

Mahayana period facade embellished

The caves of Ajanta are divided into

Chaitya-s Temples
Vihara-s - Monasteries

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

Chaitya - Interior

Interior consists of
a long vaulted nave
with a pillared aisle
on either side

Arched
roof

Stupa

Far end is semicircular

Pillared
with a stupa at its
aisle
centre
Vaulted nave

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

A colossal statue of the Buddha

is seen in the sanctum

Vihara - Interior

Cave 2

Sculpture

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.

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.

Maha-pari-nirvana, Cave 26

Maha-pari-nirvana, Cave 26

Naga King and

his consort
Cave 19

However, the general character

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

Hariti Shrine, Cave 2

Every one of the sculptures

was plastered and painted.
But most of the plaster
is now lost.

Sculpture at the Entrance

Cave 17

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

This is a scene from the story of King Shibi,

who offered his own flesh to save a pigeon.

A Scene from Shibi Jataka, Cave 1

Life of the Buddha

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

Life of the Buddha

Gautama was meditating under the Bodhi tree
to attain enlightenment.
Mara, the Evil Spirit, made many attempts
to dislodge Gautama from His resolve.
Mara sent his three most beautiful daughters
to distract Him.
When this failed,
Mara summoned his demons
to dislodge Gautama.
But Gautama was calm and unmoved.

Maras Episode, Cave 1

Life of the Buddha

On the way to Her parents house

Mayadevi gave birth to Siddharta
in Lumbini grove of shaala trees.
Brahma, Indra and other gods descended
to pay their respects to the new-born.

A Scene from The Birth of the Buddha, Cave 2

Solo Pictures
Religious

There are
a few compositions
of divinities,
but these are not
part of any story.

Bodhisattva Avalokiteshvara, Cave 1

Solo Pictures
Secular

A few of the solo-pictures

do not seem to have
any religious import.

Lady doing her make-up, Cave 17

Decorative

The paintings in the last category are

decorative and secular.
They fill up all the available space
on the ceilings, pillars, etc.

Mythical birds Clown

Floral design

Geometrical design
Hilarious themes

Animals

Composition

Composition of the paintings over the period

is an interesting study.

Earlier phase (2nd - 1st centuries BC)

Narration arranged is
in the form of long canvass,
at eye level,
progressing from episode to episode

The Raja with his Retinue, Cave 10

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.

Later phase (4th century AD onwards)

An interesting feature of the narration,
from the earlier times,
is that a strict chronology of events
was not followed.

In many panels scenes are

grouped according
to the location of the scenes.
The composition of Matriposhaka Jataka,
is typical of this period.

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

The ungrateful person, who was rescued by Matri-poshaka,

gives out his whereabouts to the king.

Matri-poshaka Jataka, Cave 17

Scene 1

Scene 2

The captured elephant is being led to the city.

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

The released animal is walking majestically towards the forest.

Scene 4

Scene 2

Scene 3

Scene 1

Scene 3

Scene 4

The happy reunion.

Scene 2

Scene 5

Later phase (4th century AD onwards)

Many panels suggest that

the Ajanta artists used
specific conventions
for separating scenes and acts
from each other
using suggestive punctuation marks.

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 buono

Last Supper, da Vinci

It might have taken centuries

for the Indian artist
to develop the technique of
preparing the wall for painting, and
also to select suitable pigments
with an appropriate binder.
The importance of these
may be seen from the fact that
the Ajanta paintings have withstood
the ravages of time
with remarkable resilience.

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

Preparation of Wall Base Plaster

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

Preparation of Wall Finish Coat

Buffaloskin was boiled in water
until it became soft.
Sticks were then made of the paste and
dried in the sunshine.
When colour was mixed with this,
it made it fast, and
if white mud was mixed with it,
it served as a perfect medium
for coating walls.

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

Finally, when dry, it was finished off

with a dark outline
for final definition and
a burnishing process
to give lustre to the surface.

Painting
Tradition

The paintings of Ajanta are

the earliest representation
of Indian painting tradition
available to us.
Even the earlier paintings at Ajanta,
of the 2nd century BC,
demonstrate
a sophisticated technique,
achievable only after centuries of
experimentation.
Unfortunately we have no trace of such
experimentation.

To get to know this great tradition

one may turn to the treatises written
based on the Ajanta experiment.

Treatises were codified based

on Ajanta experience
Brihat-samhita (6th century)
Kama-sutra (6th century)
Vishnu-dharmottara (7th century)
Samarangana-sutra-dhara (11th century)

Six Limbs of Painting

according to
Kama-sutra,
a well-known treatise on erotics

rUpabhedapramANAni
bhAvalAvaNya yojanam
sAdRShyam vArNikabhangam
iti chitram shaDAngakam

rUpa-bheda
differentiation
pramANam
proportion
bhAva
suggestion of mood
lAvaNya-yojanam infusion of grace
sAdRShyam
resemblance
vArNika-bhangam application of colour

Eight Limbs of Painting

according to
Samarangana-sutra-dhara,
a treatise on Architecture
bhUmi-bandhana
varnika
rekha-karma
lakshaNa
varna-karma
vartana-karma
lekha-karma
dvika-karma

preparation of surface
crayon work
outline work
features of face
colouring
relief by shading
correction
final outline

Producing
Depth & Relief

From very early times,

Indian artists have been using
a variety of techniques
to produce an illusion
of the third dimension.

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

Lustration & Renunciation, Cave 1

Kshaya vriddhi (loss-and-gain)

Fore-shortening

A Ceiling Painting, Cave 1

Using Colours

Two main techniques were employed

animnonnata
nimnonnata

- flat style
- relief by shading

Animnonnata

A flat style that uses dark colours

for the subjects in the foreground
against a background
of lighter shades,
or vice versa

Shibi Jataka, Cave 1

Nimnonnata
Vartana
shading techniques
choosing judiciously
tones and colours
Ujjotana
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)
Illusion of depth is achieved
by drawing lines to follow contours of the body

A Ceiling Painting, Cave 1

Binduja (dot-and-stipple method)

Illusion of depth is achieved
by painting dots
with variations in concentration of dots

A Ceiling Painting, Cave 2

Airika (a wash technique)

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

Children playing with a Hen, Cave 2

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

A woman in a Palace Scene, Cave 1

Chaya-tapa
(shade-and-shine)

A technique
that produces
a chiaroscuro effect

Bodhisattva Padmapani, Cave 1

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

Simhala Avadana, Cave 17

Painting
&
Dance

Unique relation
in Indian art

The relationship between

painting and dance
is a remarkable unique
Indian tradition
Vishnu-dharmottara (7th century AD)
stresses the impossibility of attaining
a proper expression of feeling
in painting
without the knowledge of dance

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

Raja with his Retinue, Cave 10

Dancing had become highly stylised

in the later period.
A dancer with full complement
of accompanying musicians is from Cave 1.

The vibrant grace of pose and gesture

invest her with
a swaying, flower-like rhythm and movement.

Tribhanga Pose

Tribhanga is a very important feature

in the depiction of the human form.
The whole figure is structured
around three main axes.

Tribhanga Pose

It gives the body an S-shaped rhythm,

a fluency of line,
which, together with
the appropriate gestures of hands,
conveys a wide range of expressions.

Painting
&
Sculpture
Another unique relation

Most impressive is the way

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

Cave 6

The sculptures were fully painted,

though most of the paint
has disappeared.

Entrance, Cave 17

Symbolism
in Indian Art

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.

His divine face has

the shape of an egg
Bodhisattva Padma-pani
Cave 1

His shoulders are

like massive
domed head
of an elephant,
and arms like
its tapered trunk
Bodhisattva Padma-pani
Cave 1

His hands are

supple like flower-bud

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

Shankha-pala Jataka, Cave 1

The three women are

in different postures;
another example
of elegant poses
Mural Painting, Cave 17

This is particularly so
with the depiction
of women shown
in congregation

Chempayya Jataka, Cave 1

Draughtmanship

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

Maha-janaka Jataka, Cave 1

A relaxed monkey,
consisting
basically of
one masterly
sweep of brush
starting
beneath chin
and
forming a curve
outlining head
and spine
and terminating
beneath knee-cap

Shad-danta Jataka, Cave 17

Portrayal
Portrayal of
of
Women
Women

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

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

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.

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

Maya-devi, Siddhartas Mother

Nativity of the Buddha, Cave 2

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

Many heroines of Ajanta

are dark complexioned.
Perhaps contemporary taste
included black
as an attractive complexion
for skin.

Black is Beautiful

Consort of Padma-pani
Padma-pani Panel, Cave 1

Black is Beautiful

The Dying Princess

Conversion of Nanda, Cave
16

Black is Beautiful

Black Apsaras
Adoration of the Buddha Panel
Cave 17

Black is Beautiful

Shakti Pandara, Avalokitesvara Panel, Cave 1

Common People

A Village Woman
attending Coronation
Vishvantara Jataka, Cave 17

Common People

Woman braiding Hair

Vishvantara Jataka, Cave 17

We wonder why very sensuous women

were painted at all
in these religious caves

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.

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

Indras Descent,
Cave 17

A mad elephant was let loose

on the Compassionate One
by his envious half-brother.
Elephant on the rampage
is shown in great dynamism

Subjugation of Nalagiri, Cave 17

This charging bull is

another example in depicting movement
A Ceiling Painting, Cave 1

Fighting Bulls, A painting on a pillar, Cave 1

Humour

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.

Attendant
Champeyya Jataka, Cave 1

On the pedestal of Goddess Hariti

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

Hariti shrine, Cave 2

Musical Heritage

Musical Heritage

In Ajanta, we can study the development

of our musical heritage.
We can see both the continuity and change
over the period.
A variety of musical instruments
have been depicted.

Musical Heritage
Queen Shivali arranges
A programme of dance
with a full compliment
of accompanying musicians
in order to draw the king
towards worldly pleasures

Flute
Cymbals
Flute
Vertical
Drum

Small Drum

Dancer with Musicians, Maha-janaka Jataka, Cave 1

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

Conch
Flute
Mridangam

King abdicating, Maha-janaka Jataka, Cave 1

Musical Heritage

Kinnara playing Kachchapa Vina, Padmapani Panel, Cave 1

Musical Heritage

Musicians form the entourage

When Indra descends
To worship the Buddha

Cymbal
Cymbal

Flute

Drum

Descent of Indra, Cave 17

Contemporary
Fashion

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

Maha-janaka Jataka,
Cave 1

The 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 dancer

a proof of high degree
of sophistication in
both fabric design and
dress-making

Maha-janaka Jataka, Cave 1

Sophisticated ornaments
can be seen
on the dancer

Arsi, Thumb-ring set

with a Miniature Mirror

Maha-janaka Jataka, Cave 1

Karna-pushpam,
Ear-rings of elaborate Design

Sharashri,
Head-dress of Gold-beads
and Pearls

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.

Flowers

Animals/Birds

Geometrical
In lighter vein

One of the themes is

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

Cave 2

Ceiling Painting

Hariti shrine, Cave 2

Main hall, Cave 17

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 Paintings
Animals & Birds

Reclining Bulls
Cave 17

Cave 1

Cave 1

Ceiling Paintings
In Lighter Vein

Cave 1

Cave 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 company
with wine!

Persian Harem, Cave 2

Friends drinking, 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.

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 decline
can 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)

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 archaic.
These paintings present
lively men and animals.
They belong to
the transitional period
that was to carry them on to
the classical phase.

Pre-classical Period

Shown here is a king with his retinue

going towards a temple.

The composition is characterised by restricted

use of colours, mostly brown in various tones.
Most characters are shown in the three-fourth
profile, a monotony avoided in the later periods.

Raja with Retinue, Cave 10

Pre-classical Period
Shad-danta Jataka, Cave 10

Only a line sketch of this grand composition,

belonging to the same period is available
to appreciate the lost glory.

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 depth
is employed here
Votaries with offerings, 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.

Vidhura-pandita Jataka, Cave 2

Phases of Ajanta Art

Baroque Period
(Mid-6th century AD)

Baroque Period

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

Baroque Period

The Bodhisattva is
heavily bejewlled and
His eyes elongated
out of proportion.

Bodhisattva Avalokiteshvara, Cave 1

Baroque Period

Maha-janaka Jataka, Cave 1

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

Women in a Palace Scene, Cave 1

Period of Decline

The figures of
the Buddhas came
to be enclosed
in separate cubicles

Two Buddhas, Cave 10

Period of Decline

This presentation
of figures of the Buddhas,
lacks refinement and finish.

Miracle at Shravasti, Cave 2

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

An Unidentified Scene, Cave 1

Inspiration
at 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.

Sittannavasal
In Tamilnadu

Bagh
in Madhya Pradesh

Inspiration
Abroad

With the spread of Buddhism to Indian Asia

Buddhist mural decoration
initiated at Ajanta
diffused into these parts.

The paintings of Sigiriya in Srilanka,

of Bamiyan, of Turfan in China and
of Horyu Kondo in Japan
are regional variation of
the Ajanta idiom

Sigiriya, Srilanka

Turfan, China

The end of the Ajanta epoch

The creative period of Ajanta ended
as mysteriously as it had begun.
Some of the unfinished caves,
which were quite obviously
abandoned unexpectedly,
show that the emigration took place
over a comparatively short span of time.

Ananda Coomaraswamy says ..

The 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.

Every gesture springs in godlike fashion

directly from the natural dispositions of the
mind .

Thank you.

Contact me through: sswami99@gmail.com

Find my details at: www.pudukkottai.org/swaminathan

S. Swaminathan

Conceived and presented by

S. Swaminathan
(sswami99@gmail.com)
www.pudukkottai.org/swaminathan

with assistance from

R. Murugapandian & M. V. Kiran
Feb, 2005