Introduction
The Ajanta Caves, honored as a UNESCO World Heritage Site in 1983, are among India’s most famous tourist attractions. Located in Aurangabad (renamed Sambaji Nagar in 2023), Maharashtra, Ajanta is best known for its paintings, which exhibit incredible grace, elegance, and a refined quality of form. These caves feature beautiful paintings on their interior walls and ceilings, primarily depicting the Jatakas—stories of the Buddha from his previous incarnations as different Bodhisattvas (Buddha in the making).
The paintings were created during two different periods in history. The initial set was produced between the 2nd and 1st centuries BCE, sponsored by the Satavahana Dynasty. The subsequent group of paintings was made in the late 5th century during the reign of King Harisena from the Vakataka dynasty.
The motifs or subjects of the paintings
The paintings on the ceilings primarily feature floral patterns, geometric shapes, animals, and birds. These artworks utilize effective shading and highlighting techniques that create a three-dimensional effect. However, the wall paintings focus more on overtly religious illustrations and portraits. The paintings from the first period, showcase important Buddhist symbols such as the Bodhi tree. Unfortunately, the paintings from this period have suffered significant damage, making them difficult to study. The paintings from the second period, depict iconic scenes from the Jatakas. Fortunately, these paintings are in better condition making them a treasure trove for historians and artists.
The Jataka tales illustrate various stories, including the temptation of the Buddha by Mara and his forces, miracles performed by the Buddha, Asita’s visit to the infant Buddha, and stories featuring kings such as Sibi, Indra, and Sachi. These tales also include court scenes, legends of the Nagas, and various battle and hunting scenes.
One key difference between the paintings from the first and second periods is the use of color. The first phase of paintings employs a limited range, primarily featuring various shades of ochre. During the second phase, lively colors, such as yellow, red, white, black, and green were used. Most probably pigments were derived locally from minerals found in volcanic rocks. Nevertheless, the sporadic use of lapis lazuli for blue suggests that certain pigments might have been imported from the Iranian plateau.
Discovery of Ajanta caves
The Ajanta Caves experienced several periods of use and abandonment after their initial phase of activity. The caves are thought to have been in use until at least the 8th century CE. The Chinese traveller Hiuen Tsang reportedly mentioned the wonders of Ajanta in his accounts of India during the 7th century. However, it is possible that he never visited the caves himself and based his writings on stories from other travellers. Following this period, the caves were permanently abandoned until April 28, 1819, when a British soldier John Smith rediscovered them while hunting a tiger and stumbled upon Cave 10.
The Ajanta Caves are etched into a cliff on the left side of the Waghora River within the Ajanta Hills. There are 30 caves in total, although several of them are incomplete. Of these, five caves (numbers 9, 10, 19, 26, and 29) are noteworthy because they served as chaityagrihas, or sanctuaries, while the others function as sangharamas, or viharas, which are monasteries. Nowadays, the caves can be accessed from the river via rock-cut staircases.
Chaitya and Vihara
Chaityas were sacred gathering spaces intended for communal worship, whereas Viharas acted as monasteries that accommodated monks for spiritual education and meditation. Wealthy merchants and rulers like Ashoka supported the building of Viharas and Chaityas. The interiors of Viharas and Chaityas were embellished with stunning mural paintings showcasing religious motifs, created with special attention to lines, expressions, and colors. A Chaitya, being a worship space, usually includes a stupa at the far end of the cave, while a Vihara were used as the residence for monks.
Preparing the surface for Paintings
Preparing the surface for painting was one of the most tedious and time-consuming tasks, requiring a great deal of patience and precision. Based on scientific research, scholars have identified a specific pattern for this process. The walls were first chiselled to create a rough surface, allowing the layer of mud plaster to adhere permanently.
The initial layer of mud plaster consisted of river-side mud applied roughly to the wall. On top of this, a smooth, fine clay mixed with vegetable fibres and grain husks was added. Finally, the topmost layer of lime was applied to create a smooth finish, providing a surface ready for painting once it dried.
At Ajanta, the thickness of the paint used in the murals is 0.1 millimetres, whereas the base layer of fine plaster differs from cave to cave, typically falling between 2 and 3 millimetres. In certain artworks, the outlines are made with red ochre and soot black before adding the colors.
The paintings were made on a smooth lime surface using natural mineral colors. As mentioned above, the artists utilized different pigments mixing them with animal glue. The sheen of the finished artwork was achieved by smoothing the paint surface with a trowel, which not only made it glossy but also enhanced its durability. The fact that these paintings have survived for thousands of years is a testament to this technique.
Artistic nature of the Ajanta paintings
These artworks are centuries older than any known examples of Western art. It is noteworthy that they still have a profound impact on Indian art today. The painted ceilings of Ajanta are largely driven by patterns, showcasing elements from nature like fruits, leaves, flowers, plants, and animals.
Two significant paintings located in Cave 1, the Bodhisattva Padmapani and Avalokitesvara Vajrapani, have achieved remarkable popularity influencing perceptions of ideal Indian aesthetics and serving as symbolic representations of Ajanta over the years.
The paintings unveil crucial technical aspects of their creation, including the preparation of the surface, the application of paint with a sense of perspective, the usage of lines, the division of space, the layering of colors, and the materials involved in the pigment creation. They also illustrate the ability to engage visual and tactile senses and the pacing of the narrative being portrayed.
Focus of Stories depicted in Ajanta paintings
The Ajanta paintings often illustrate scenes from everyday life. Women are typically shown in traditional roles, such as mothers or wives. They are depicted with shapely bodies, usually positioned in the tribhanga posture. The men are mostly portrayed as saints or ascetics.
Caves 1, 2, 16, and 17 showcase stories depicting the Bodhisattva in various roles, such as a king, minister, prince, animal, Naga, ascetic, Indra, and even as a young Buddha. Some of the artworks convey complete narratives through a sequence of panels. Given that the primary audience for these caves was Buddhists, they were well-acquainted with these stories and could easily comprehend the grand narratives with just a few illustrations. There is no uniform style, aesthetic principle, or narrative format among the artwork in the Ajanta caves, as they were produced by different artists over an extended timeframe.
At Ajanta, the oldest surviving paintings are found in caves 9 and 10, where stories based on the previous lives of Gautama Buddha, the founder of Buddhism, are depicted. The common theme in all these stories is the compassion that the Bodhisattva demonstrates for all living beings. Caves 1, 2, 16, and 17 contain the best-preserved Jataka stories. These caves depict the glorious deeds of the Bodhisattva as a king, merchant, and prince, showcasing his moral activities and stories from Buddha’s life with intricate detail.
Conclusion
Ajanta paintings are not merely decorative pieces; they are lyrical expressions of color that travel smoothly from one story to another, intertwining seamlessly to create an epic narrative.
These artworks convey stories that offer insights into the lives of people from the past. The artistic expertise and expressionism displayed in these paintings are astonishingly advanced for their time. It is no wonder that the Ajanta paintings are not only celebrated for their beauty but also laid the groundwork for various artistic expressions in the years to come.
References:
https://indianculture.gov.in/ajanta/painting