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    Ajanta Murals

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    ayeeta5099
    The document discusses the techniques used in mural paintings at Ajanta Caves in India. It notes that while commonly called frescoes, the Ajanta paintings were not true frescoes as they were not painted onto wet plaster but rather used a binding agent like glue. It describes the elaborate preparation of the rock surfaces, application of ground layers, and use of minerals as pigments. Subjects of the paintings included scenes from Buddha's life, Buddhist mythology, historical figures, and decorative motifs like flowers, foliage, animals and mythic creatures on ceilings and pillars. Specific examples from Caves 1, 2, and 17 are highlighted.

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    Ajanta Murals

    Uploaded by

    ayeeta5099
    196 views29 pages
    The document discusses the techniques used in mural paintings at Ajanta Caves in India. It notes that while commonly called frescoes, the Ajanta paintings were not true frescoes as they were not painted onto wet plaster but rather used a binding agent like glue. It describes the elaborate preparation of the rock surfaces, application of ground layers, and use of minerals as pigments. Subjects of the paintings included scenes from Buddha's life, Buddhist mythology, historical figures, and decorative motifs like flowers, foliage, animals and mythic creatures on ceilings and pillars. Specific examples from Caves 1, 2, and 17 are highlighted.

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    Technique & Subjects

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    The document discusses the techniques used in mural paintings at Ajanta Caves in India. It notes that while commonly called frescoes, the Ajanta paintings were not true frescoes as they were not painted onto wet plaster but rather used a binding agent like glue. It describes the elaborate preparation of the rock surfaces, application of ground layers, and use of minerals as pigments. Subjects of the paintings included scenes from Buddha's life, Buddhist mythology, historical figures, and decorative motifs like flowers, foliage, animals and mythic creatures on ceilings and pillars. Specific examples from Caves 1, 2, and 17 are highlighted.

    Copyright:

    © All Rights Reserved
    Download as PPT, PDF, TXT or read online from Scribd
    Download as ppt, pdf, or txt
    196 views29 pages

    Ajanta Murals

    Uploaded by

    ayeeta5099
    The document discusses the techniques used in mural paintings at Ajanta Caves in India. It notes that while commonly called frescoes, the Ajanta paintings were not true frescoes as they were not painted onto wet plaster but rather used a binding agent like glue. It describes the elaborate preparation of the rock surfaces, application of ground layers, and use of minerals as pigments. Subjects of the paintings included scenes from Buddha's life, Buddhist mythology, historical figures, and decorative motifs like flowers, foliage, animals and mythic creatures on ceilings and pillars. Specific examples from Caves 1, 2, and 17 are highlighted.

    Copyright:

    © All Rights Reserved
    Download as PPT, PDF, TXT or read online from Scribd
    Download as ppt, pdf, or txt
    of 29

    Ajanta Mahayana Paintings

    The Technique of Mural Painting at Ajanta:


    • Ajanta Murals are not true Fresco, though popularly called so.
    • Fresco is from the term enfresca, the Italian for fresh implying the wet plaster.
    • The two types of Fresos popular in Europe are Fresco-Secco and Fresco-Buono.
    • The paintings were executed after elaborate preparation of the rock surface initially.
    • The rock surface was left with chisel marks and grooves so that the layer applied over it can be held in an
    effective manner.
    • The ground layer consists of a rough layer of ferruginous earth mixed with rock-grit or sand, vegetable fibres,
    paddy husk, grass and other fibrous material of organic origin on the rough surface of walls and ceilings.
    • A second coat of mud and ferruginous earth mixed with fine rock-powder or sand and fine fibrous vegetable
    material was applied over the ground surface.
    • Then the surface was finally finished with a thin coat of lime wash. Over this surface, outlines are drawn
    boldly, then the spaces are filled with requisite colours in different shades and tones to achieve the effect of
    rounded and plastic volumes.
    • The colours and shades utilised also vary from red and yellow ochre, terra verte, to lime, kaolin, gypsum,
    lamp black and lapis lazuli. The chief binding material used here was glue.
    • The paintings at Ajanta are not frescoes as they are painted with the aid of a binding agent, whereas in fresco
    the paintings are executed while the lime wash is still wet which, thereby acts as an intrinsic binding agent.
    Subjects of painting in second phase:
    (A) Based on Buddha’s Life
    • Maravijaya (Cave 1) • Birth of Budhha
    • Nanda’s conversion (Cave 1 & 16) • Seven Steps of baby Buddha
    • Miracle at Sravasti (Cave 2) • Ladies (devotees) with offerings
    • Buddha’s visit to Tushita Heaven • Taming of Nalagiri or Miracle at
    • Mayadevi’s dream Rajagraha (Cave 17)
    • Court of King Shuddhodana • Preaching of Buddha
    • Mayadevi beside a pillar
    Subjects of painting in second phase:
    (B) Based on Buddhist Mythology

    • Bodhisattvas (Cave 1)
    • Jatakas
    • Row of Buddhas (Cave 2)
    Subjects of painting in second phase:
    (C) Historical
    (D) Decorations on ceiling and pillars:

    (C) Historical (D) Decorations on ceiling and pillars:


    • Figures • Geometric motifs
    • Arhats • Floral Ornamentation
    • Semi divine • Foliage & Fruits
    • Dancers • Birds & Animals
    • Foreigners • Real and mythic
    Ajanta Cave 17 porch
    EXCAVATION:
    Date : Early 463-471/ 479-480
    CE
    Reign : Maharaja Harishena of
    the Western Vakataka dynasty
    Patron : Upendra[gupta II], the
    local king of Rishika and a
    vassal of Maharaja Harishena
    Floral Ornamentation:
    Cave 2 ceiling
    decorations
    Rear aisle
    Considerably darkened
    by soot and shellac, yet
    persists in its
    remarkable beautiful
    floral motifs, geese
    drawn in prolific variety
    Exceptional geometric
    designs
    Reminiscent of
    decorative patterns of
    Greek art (in quality)
    Skilful shading three-
    dimensional effect
    Flowers as ceiling decorations in Cave 2
    Flowers as ceiling decorations in Cave 2
    Cave 2 ceiling decorations: Lotus: symbol of beauty and purity
    Used both in Brahmanic and Budhhist art
    Always in their brilliant beauty
    Contrasts of blue from lapis lazuli in other flowers
    Flowers as ceiling decorations in Cave 2
    Flowers as ceiling decorations in Cave 2
    Ornamentation: Foliage & Fruits
    Cave 1 Foliage & Fruits
    Ornamentation: Birds & Animals
    Cave 2 ceiling decorations
    Above: ceiling of the left chapel, the row of geese in
    various attitude within concentric circle
    Right: ceiling just before the antechamber
    Cave 1 Mythic animals
    Cave 1 Mythic animals
    Ornamentation: Figural
    Cave 2
    On the ceiling just
    before the
    antechamber
    Such flowers,
    geometric designs are
    profusely present

    Similar floating Arhats


    are also seen carrying
    fruits and flowers
    Cave 2
    Detail from the ceiling of main
    shrine.
    A gana floating among the
    clouds, offering flowers to
    Budhha
    Four at each corner
    Refined drawing,similar to plump
    cherubs of renaissance
    Ajanta Cave 17
    Mithuna, Above the entrance
    Over the door are eight
    compartments, each with a
    loving Yaksha couple. Above it
    is a row of the seven Past
    Buddhas and the Maitreya, the
    Future Buddha.
    Variety and liveliness
    Unusual varieties of hairstyle of
    man in the left
    Complex pattern of skirt of the
    lady in the right
    Varied complexions, diff race,
    caste, class
    A sculptured figure of adeity on
    Makara flanks
    Phussa, Vipassi, Sikhi, Vessabhu, Kakusandha, Konagamana, Kassapa, and
    Gautama
    Cave 16 left wall of the cave
    Dancing figures, noticeable are postures and
    gestures as practiced even today
    Cave 1 Comical scenes
    Cave 2
    Detail from Veranda, drinking from a cup
    Markings on forehead
    Matching blue socks and patten in cap
    Their postures bent and ungainly
    Fastidious attire appears inebriated
    Cave 1 Foreigners
    Depiction of Foreigners in Ajanta Paintings

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