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NIOS Class 12 Painting Chapter 3 Ajanta Caves
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Ajanta Caves
Chapter: 3
PAINTING
First period
The first sanctuaries (known as chaiytia- grihas) were built during the Satavahana dynasty in the canyons of the Waghora River. Murals preserved from this time belong to the oldest monuments of painted art in India.
Second Period
Scholars disagree about the date of the Ajanta Caves’ second period. For a time it was thought that the work was done over a long period from the fourth to the seventh century AD, but recently in was declared that most of the work took place over short time period, from 460 to 480 AD, during the reign of Emperor Harishena of the Vakataka dynasty.
Some 20 cave temples were simultaneously created, for the most part viharas: monasteries with a sanctuary in the structure’s rear Centre. Each of cave temples seem to be patronised by influential authority, numerous best available artists have been involved in the work with fruitful rivalry between the neighbouring construction sites,
According to Spink, the Ajanta Caves appear to have been abandoned shortly after the fall of Harishena circa 480 AD. Since then, these temples have been abandoned and gradually forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed.
Rediscovery by Europeans
On 28 April 1819, a British officer for the Madras Presidency, John Smith, while hunting tiger, accidentally discovered the entrance to one of the cave temples (Cave No. 9) deep within the tangled undergrowth. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other, larger, animals, Captain Smith wrote his name in pencil on one of the walls.
Still faintly visible, it records his name and the date, April 1819.
Shortly after this discovery, the Ajanta Caves became renowned for their exotic setting, impressive architecture, historic artwork, and long-forgotten history.
Cave One
The first cave was built on the eastern end of the horse-shoe shaped scarp. According to Spink, it is one of the latest caves to have begun on site and brought to near-completion in the Vakataka phase. Although there is no epigraphic evidence, it has been proposed that the Vakataka king Harisena may have been the benefactor of this better-preserved cave. A dominant reason for this is that Harisena was not involved initially in patronizing Ajanta.
This cave has one of the most elaborate carvings on its facade with relief sculptures on entablature and ridges. There are scenes carved from the life of the Buddha as well as a number of decorative motifs.
A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.
Each wall of the hall inside is nearly 40 feet (12 m) long and 20 feet (6.1 m) high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharma chakra pravartana mudra. There are four cells on each of the left, rear, and the right walls. The walls are covered with paintings in a fair state of preservation. The scenes depicted are mostly didactic, devotional, and ornamental. The themes are from the Jataka stories (the stories of the Buddha’s former existences as Bodhisattva), the life of the Gautama Buddha, and those of his veneration.
Cave Two
Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.
The facade
Cave 2 has a porch quite different from Cave one. Even the facade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The size and ground plan have many things in common with the first cave.
The paintings
Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha’s teachings and life through successive births. Their placement on the walls required the devotee to walk through the aisles and ‘read’ the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site’s rediscovery in 1819.
Some believe that the art work has erroneously been alluded to as “fresco”, rather than mural, and assert that the technique and process used to produce this kind of artwork is unlike any other artwork found in the art history of other civilizations, including within the history of South Asian art.
However, the process of drawing and painting into wet plaster somewhat resembles the buon fresco method, in use as early as 1500 bce in Ancient Crete. In any event, the process of painting involved several stages. The first step was to chisel the rock surface, to make it rough enough to hold the plaster. The plaster was made of clay, hay, dung and lime. Differences are found in the ingredients and their proportions from cave to cave. While the plaster was still wet, the drawings were done and the colors applied. The wet plaster had the capacity to soak the color so that the color became a part of the surface and would not peel off or decay easily. The colors were referred to as ‘earth colors’ or ‘vegetable colors. Various kinds of stones, minerals, and plants were used in combinations to prepare different colours. Sculptures were often covered with stucco to give them a fine finish and lustrous polish. The stucco had the ingredients of lime and powdered seashell or conch. The latter afforded exceptional shine and smoothness. In cave upper six, some of it is extant. The smoothness resembles the surface of glass. The paint brushes used to create the artwork were made from animal hair and twigs.
Intext Questions 3.1
Select the correct answer:
1. Ajanta caves are located at
(a) Aurangabad.
(b) Jahanabad.
(c) Delhi.
Ans: (a) Aurangabad.
2. The number of caves in Ajanta are
(a) 29
(b) 32
(c) 21
Ans: (a) 29
3. Maximum paintings in Ajanta caves are from
(a) First century to fifth century.
(b) Fourth century to seventh century.
(c) First century to fourth century.
Ans: (a) First century to fifth century.
4. Among 29 paintings, the number of clear paintings are
(a) Four.
(b) Six.
(c) Ten.
Ans: (b) Six.
Intext Questions 3.2
Select the correct answer:
1. In whose right hand ‘Neelkamal’ can be seen
(a) In Jain pilgrim’s.
(b) In Yakshini’s.
(c) In Mahatma Buddha’s.
Ans: (c) In Mahatma Buddha.
2. The main theme of Ajanta paintings is
(a) Jainism.
(b) Buddhism.
(c) Vaishnavism.
Ans: (b) Buddhism.
3. The name of the story of Buddha’s victory over temptation is
(a) Digvijay.
(b) Tapasya.
(c) Maravijay.
Ans: (c) Maravijay.
4. Maravijay painting is found in
(a) Cave no. 1
(b) Cave no. 2
(c) Cave no. 9
Ans: (b) Cave no. 2.
5. The size of Maravijay is of size
(a) 12’x20′
(b) 10’x10′
(c) 12’x8′
Ans: (c) 12’x8′.
Intext Questions 3.3
Fill in the blanks with suitable words.
1. Cave no. 1 is _________ acclaimed.
Ans: Internationally.
2. Gautam Buddha is in _________ stage looking at the floor.
Ans: Meditative.
3. The painting is named ‘Padmapani’ because he is holding in his hands in _________.
Ans: Padampani.
4. The medium of this painting is _________.
Ans: Tempera.
5. In _________ there is a beautiful line painting.
Ans: Cave no. 2.
Intext Questions 3.4
Fill in the blanks:
1. Ajanta caves are called _________ and _________.
Ans: Chaitya, viharas.
2. The other _________ presented in the painting are immersed in fear.
Ans: Women.
3. The feeling of _________ be seen in Buddha’s eyes.
Ans: Compassion.
4. This huge paintings’s height is _________ feet and width is _________ feet.
Ans: 4. 12, 8.
5. In Ajanta paintings Lord Buddha is preaching to the _________ the teachings of love, non-violence and sacrifice.
Ans: World.
Short Type Questions Answer
1. What do you know about Ajanta caves?
Ans: The Ajanta Caves in Maharashtra, India are 31 rock-cut cave monuments which date from the 2nd century BC. The caves include paintings and sculptures considered to be masterpieces of both Buddhist religious art (which depict the Jataka tales) as well as frescos which are reminiscent of the Sigiriya paintings in Sri Lanka. The caves were built in two phases starting around 200 BC, with the second group of caves built around 600 AD.
The Ajanta Caves became renowned for their exotic setting, impressive architecture, historic artwork, and long-forgotten history.
2. Describe the Cave No. 1 of Ajanta caves.
Ans: The first cave was built on the eastern end of the horse-shoe shaped scarp. According to Spink, it is one of the latest caves to have begun on site and brought to near-completion in the Vakataka phase. Although there is no epigraphic evidence, it has been proposed that the Vakataka king Harisena may have been the benefactor of this better-preserved cave. A dominant reason for this is that Harisena was not involved initially in patronizing Ajanta.
This cave has one of the most elaborate carvings on its facade with relief sculptures on entablature and ridges. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.
Each wall of the hall inside is nearly 40 feet (12 m) long and 20 feet (6.1 m) high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakra pravartana mudra. There are four cells on each of the left, rear, and the right walls. The walls are covered with paintings in a fair state of preservation. The scenes depicted are mostly didactic, devotional, and ornamental. The themes are from the Jataka stories (the stories of the Buddha’s former existences as Bodhisattva), the life of the Gautama Buddha, and those of his veneration.
3. Describe the Cave No. 2 of Ajanta caves.
Ans: Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.
The facade
Cave 2 has a porch quite different from Cave one. Even the facade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The size and ground plan have many things in common with the first cave.
The porch
The front porch consists of cells supported by pillared vestibules on both ends.
The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha’s life in former existences as Bodhisattva. The porch’s rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square- shaped window to brighten the interior.
The hall
The hall has four colonnades supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi- divine forms.
The paintings
Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha’s teachings and life through successive births. Their placement on the walls required the devotee to walk through the aisles and ‘read’ the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site’s rediscovery in 1819.
Some believe that the art work has erroneously been alluded to as “fresco”, rather than mural, and assert that the technique and process used to produce this kind of artwork is unlike any other artwork found in the art history of other civilizations, including within the history of South Asian art.
However, the process of drawing and painting into wet plaster somewhat resembles the buon fresco method, in use as early as 1500 bce in Ancient Crete. In any event, the process of painting involved several stages. The first step was to chisel the rock surface, to make it rough enough to hold the plaster. The plaster was made of clay, hay, dung and lime. Differences are found in the ingredients and their proportions from cave to cave. While the plaster was still wet, the drawings were done and the colors applied. The wet plaster had the capacity to soak the color so that the color became a part of the surface and would not peel off or decay easily. The colors were referred to as ‘earth colors’ or ‘vegetable colors. Various kinds o stones, minerals, and plants were used in combinations to prepare different colors” Sculptures were often covered with stucco to give them a fine finish and lustrous polish. The stucco had the ingredients of lime and powdered! seashell or conch. The latter afforded exceptional! shine and smoothness. In cave upper six, some of it is extant. The smoothness resembles the surface of glass. The paint brushes used to create the artwork were made from animal hair and twigs.
4. What are chaityas and viharas?
Ans: Ajanta caves are of two types-1. Chaitya and 2. Vihara. Chaitya caves are known as Stupas caves also. This was a place of worship and religious discourses. 9, 10, 19, 25 and 29th are Chaitya caves. Vihara caves were the living places for the Bhikkhus.
5. Describe the painting techniques of Ajanta caves?
Ans: Ajanta murals were done in tempera style. The surface of the place where painting was to be done, was made rough by some tool. A plaster consisting of stone powder, cow dung and rice straw was used to cover the rough surface already prepared. This was covered by a thin coat of lime paste. Line of the required painting were drawn in red colour on this surface while it was wet. Then color made of local pigments were applied to the same and in the 1st, finishing was done by black or brown color outlines.
As regards the questions of colors, Ajanta artists had only limited ones, which were prepared out of the locally available pigments in nature. Mostly earthen colors were used. Main color was prepared out of red ochre or ruddle, white red ruddle, yellow, green and at some places blue color has also been used. Outlines have been drawn in black color. White color was prepared from lime or chalk. Green colour was prepared from a stone terra verte. Blue color was prepared from Neel. Yellow color was prepared out of Pevadi. Some believe that the Yellow color might have been prepared by Arsenic, Ruddle, Ramraj and chalk have also been used.
6. What are characteristics of Ajanta paintings?
Ans: There are so many characteristics of Ajanta painting because of which this style became world famous.
Beauty
Line drawing in Ajanta is most important. Expression of emotions through line is the speciality.
Expression of sentiments
The expression of hearty emotions and. mental ideal is the speciality of Ajanta Painting. Compassion, repose, gaiety, friendship, worship. request and restlessness etc have been beautifully depicted.
Color scheme
The use of limited colours in creating different colour schemes is the originality of Ajanta Painting. The whole painting has been done in Geru (ruddle). Ramraj, Hironji, Neel, (Blue), Kajal, chalk and line.
Variety of Life
Divine and physical, both the lives been beautifully depicted in Ajanta.
Expression of emotions through hand postures The artists of Ajanta have achieved a special style of expressing emotions and ideas through the postures of hands or Mudras only.
Novelty alongwith traditions
No doubt, there has been a repetition in the subject matter of Ajanta cave paintings but every time we feel some novelty in those traditional subjects.
Woman in ideal form
Woman is supposed to be a symbol of beauty. But the artists of Ajanta have taken women as the worshiped Goddess of Art. Instead of being the centre of attraction or worldly or physical charm, the woman of Ajanta is the embodiment of divinity, affection, compassion, inspiration and power.
Decoration of roof
The roofs of the Ajanta caves are also very beautifully decorated.
Ornamentation
The Art of Ajanta is full of ornamentation, thought the whole subject matter is Lord Buddha’s preachings and his life.
Picture composition
Picture composition was one of the main specialities of Ajanta artists.
Hair style
The Hair Styles that were conceived by the artists of Ajanta about 2000 years back and were painted with minute details are still a source inspiration and knowledge to the modern women and the artists too.
Battle scenes
Where as on the one side, Ajanta artists have depicted repose, preachings, compassion, pity and other delicate sentiments, they have, on the other hand, depicted battle seenes also with the same success.
Symbolic paintings
Elephants, lotuses, creepers and wild apple have been painted in a symbolic way as these things are taken to be the symbols to well being of humanity.
Painting according to shadangas
The Shadangas of Vatsyayan’s Kamasutra seem to have been followed in the Ajanta cave paintings.
Emotional depiction of birds and animals
Nowhere in the world of that time, such a beautiful emotional depiction of the birds and animals is found as has been done in Ajanta cave paintings,
Depiction of nature
The artists of Ajanta have depicted nature in a most beautiful way.
Garments and ornaments
One can feel the fashion of that age while going through the garments painted there.
