HISTORY OF AJANTA CAVE PAINTINGS
HISTORY OF AJANTA CAVE PAINTINGS
The Ajanta cave paintings belong from circa1st to 7th A.D. Out of 29 Ajanta caves only 16 were recorded to have contained painting in greater or lesser degree in 1879. At present paintings in only 6 caves out of 16 exist. These caves are 1, 2, 9, 10, 16 and 17, and in all of them the whole of the walls and also pillars and ceilings have been painted. When it is understood that some of these halls measure over sixty feet square, the painting that remains represent a very considerable quantity.
SALIENT FEATURES OF AJANTA CAVE PAINTINGS
- The Ajanta paintings are wall frescoes.
- These paintings are not the product of a single undertaking. In fact, it resolves itself into a number of distinct groups, representing various styles and period.
- These paintings depict mostly Buddhist subjects and mainly illustrate the Jataka incidents from the previous lives of Buddha.
- Most of the compositions are of heroic proportion.
- Centrality is one of the main features of the compositions. So that attention is at once drawn to the most important person in each scene.
- Another important feature of Ajanta paintings is treatment of gesture, especially in the expressive action of hands
- In sentiment the art is intensely emotional, uplifting the observer by its forceful expressiveness.
- Ajanta paintings have been executed by artist priest.
- The technical process by which these paintings were executed is considered by artists to be tempera and fresco.
ABOUT Ajanta
Ajanta is the sole monumental record of classical Buddhist culture that is preserved in a land that gave birth to this religion, and also influenced the culture of other Asian countries. The thirty odd caves cut into horse shoe shaped scrap of a steep cliff overlooking the Waghura river are the best creations of the time which inspired Buddhist in central Asia, China and south-east Asia. Ajanta painters were guided by a highly developed sense of blending of colours with a view to produce total impression with three dimensional effects giving true perspective to line and plane. Besides, the technique of giving three dimensional effects to the painting was first introduced in India in the cave paintings of Ajanta in 3-4 century A.D.
The first of Ajanta caves were started in about the first century B.C. that included the impressive chaitya hall, cave 10 and simple associated vihara cave 12 all done by true community effort. The repainting in old Hinayana cave no 9 &10 was made in 3-4 A.D but the plan was never realized except by painting some more areas of the cave [19, 20]. The dramatic idea of creating rock cut monasteries at both Ajanta and Bagh was developed by their respective patrons in Vakataka period 3-4 A.D. Undertaking Ajanta excavation some 400 to 500 years after the Hinayana phase must have involved advance planning as well as supporting patrons, monks, workers, who must have come from number of different parts of the Vakataka empire.
It seems clear that when such a major cave was started, the delegation of architects (now the excavators) and members of Buddhist sangha must have surveyed the site, deciding upon the best and appropriate location. In the case of vast cave 26 complexes, patronized by Asmaka, they were careful to choose the location into which the projected monument would fit and monks may reside in vihara at right in cave 21-25 and left in cave 27, 28. Cave 26 drew upon the precedent of the Hinayana chaitya cave 10; though again with the intention of adding appropriate modern features.
When the four wings were planned for this ambitious cave complex, all were essentially based on the layout of ancient cave no 12. Similarly, the plan of cave 19 drew the precedent of Hinayana cave 9. The two impressive caitya hall of cave 19&26 conceived as intended ceremonial centres for the site. The former (cave 19) is referred as “Vakataka” area including the entire excavation up to cave 20. The other (cave 26) is described as “Asmaka” area starting with cave 21 to 28. The Asmaka was in fact feudatories of the Vakataka emperor.