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Cave Temples of Ajanta and Ellora

    • Cave Temples of Ajanta and Ellora

    ₹2,500.00Price
    Between the 1960s and 80s Ajanta and Ellora drew the attention of many scholars, historians, and researchers who explored these caves, evaluated and analyzed them, and not only wrote research papers but also books. However, there were more books as well as articles published on Ajanta compared to Ellora. From the 1980s to nearly 2000 and a little later the number of scholars, and researchers working on these caves swindled, though a few continued to be loyal and committed to Ajanta. These later books concentrated on studies related to certain theories of period, historical perspective, and an exhaustive comparative study. These were all serious studies little comprehended by the common readers.
    Hence the present book is mainly written to present a descriptive study of both Ajanta and Ellora as well as an in-depth study of textiles, jewelry of Ajanta, etc. for the general reader audience who desire to understand details of sculptures, paintings, and architecture to understand details of detail of sculptures, painting, and architecture. The script is also supported by line drawings and photographs, ground plans, and maps to offer a more graphic perception and appreciation of the caves. This book will serve a crore section of society who will enjoy the visual commentary on these renowned cave temples.
    Both these world heritage sites have also the added advantage of financial aid from the Japanese International Cooperation Agency (JBICA) which has supported the development, landscaping, and beautification of these monuments. For the tourists, all facilities, amenities, and services are provided. The book also takes note of these developments.
    SKU: 9788180902956

    • PRODUCT INFO

      AUTHOR DR. DULARI QURESHI
      PUBLISHER BHARATIYA KALA PRAKASHAN
      EDITION 2012
      ISBN 9788180902956
      PAGES

      148 (THROUGHOUT COLOR AND B/W     

      ILLUSTRATIONS)
      COVER HARDCOVER
      OTHER DETAILS 11.0 INCH X 9.0 INCH
      WEIGHT 1 KG 

    • AUTHOR INFO

      Prof. Dulari Qureshi has recently retired as a Professor and Director of the Department of Tourism Administration. She has made a special mark in scholarly circles through her books on historical monuments of national importance that include “The Art and Vision of Aurangabad, Daulatabad Fort”, “Rock Cut Caves of Western India” and several other books. She is also one of the editors of four volumes of the Encyclopedia of Hindu, Buddhist, Jain, and Islamic Architecture. Two more books are under publication. She has written 712 articles, features, and interviews on Heritage, Art, and Architecture in national newspapers like Times of India, and Indian Express, State level newspapers like Maharashtra Times, Koksatta, and Sakaal, and local newspapers like Lokmat Times. A special news magazine under the title of ‘Art and Glamour’ published many of her articles and news features.

      Besides she has contributed several research articles to National Research Journals like the Journal of Marketing, Research Books, University Research Journals, and Commemoration volumes. She has also offered consultancy services on Promotion and Marketing as well as visitor management centers at Ajanta and Ellora to JICA and MTDC. She gave inputs to web designers on designing websites for Aurangabad Tourism. She was a scriptwriter for a documentary on Aurangabad: A Land of Hidden Treasures for tourism conclave.

      She received a Lifetime Achievement award from the Maharashtra Chambers of Commerce, Industry, and Agriculture, a state-level award from the 75th Akhil Bhartiya Marathi Sahitya Parishad for her contribution to Historical Research, and the Tourism Promotion Guild (a local Travel and Hotel agencies association) for promotion of Aurangabad as a tourist destination. Dr. Dulari Qureshi is putting in sincere efforts to promote Aurangabad at the International level by delivering lectures on Ajanta and Ellora in foreign countries. Her recent public lecture at the Wisconsin University at Madison was highly appreciated and applauded by the audiences

    • FOREWARD

      Ajanta and Ellora cave temples are two different worlds where the power of the soul is enriched and the human race feels happy and ennobled. Within the artistic rendering of sculpture, painting, and architecture, there is a deep spiritual touch that wakes the conscience of even a non-believer. That art is rhythmic where spiritual purity merges easily with sensual joy. Both the sites contain masterpieces in painting and sculpture where beauty is wheeled to science on one hand and religion on the other. The technical compositions of each rendering are so perfect that there is clear mathematical precision blended so flawlessly with imaginative flavors.

      Ajanta is a dream world where the paintings that delineate the Jataka katas take you to the ancient world which is artistically synthesized with the divine. More renowned for stirring emotional chords the Ajanta paintings are tender and touching. There is no presence of anger but love, sympathy, and empathy. While the second site of Ellora a pluralist site with three religions harmoniously co-existing together is however different. The first group of caves that are Buddhist is similar to Ajanta in evoking peace and tranquility amongst the visitors. But the second group is the Brahmanical cave portrays all the human emotions, anger, hate, love, greed, and destruction. There is action, excitement, energy, and vitality. All the grouped like a forest, whose thousand waving arms are led by Nataraja the Master of the dance.

      The third groups of Jain caves have beautiful images, females are very delicate, and feminine while male images too are effeminate. But the art is different where the philosophy is cold and hence there are no emotions depicted. But the decoration and ornamentation of pillars are extremely intricate and beautiful.

      Both world heritage sites have received ample attention from explorers, scholars, researchers, travel writers, and reductionists. Foreign and Indian writers have written volumes on both sites, especially Ajanta. However, there has been a gap of several years since any scholar or researcher has written on these caves, except for a few research articles here and there.

      Most of the existing old work presently is either out of print hence not available in the market or outdated. In such circumstances, a strong need was felt for a good book on Ajanta and Ellora. It is my privilege to pen a Foreword for Prof. Dulari Qureshi’s book which not only describes every cave of both these sites but also includes several line drawings, photographs, and maps that make it easier to comprehend both the cave temples. The author also adds research on the textiles of Ajanta as well as works on a few masterpieces of both Ajanta and Ellora.

      The introductory write-up also embraces tourism development work at both sites. The modern-day facilities and services that have been developed making visits to both the caves more convenient, easier, and comfortable, with state of art airports, comfortable and luxurious transportation, and other facilities at both Ajanta and Ellora have been dealt with in detail.

      The present work by Prof. Dulari Qureshi indeed has made a very good effort at an easier understanding of these two world heritage sites. There are very few scholars in the University to research and examine these monumental sites and we need scholars like Prof. Dulari Qureshi to work in this field, to record and explore new research avenues, and enrich the cultural horizons of the region. I sincerely hope that she continues this good work of enlightening the scholarly world and wish her the best.

    • PREFACE

      Ajanta and Ellora are monumental treasure troves that can be explored, researched, probed, and investigated by numerous scholars, academicians, and historians but there will still be something to investigate. Both these sites are fathomless for research. However, more researchers have shown a marked predilection for Ajanta cave temples while Ellora cave temples remain a virgin historical site that needs to be explored and examined. Not a single scholar has even systematically documented these caves though only the late Dr. Ramesh Shankar Gupte has practically documented these caves through his books on Ajanta, Ellora, and Aurangabad caves as well as Hindu, Buddhist caves of Ellora. A few scholars have also studied the architectural aspects, socio-cultural and economic aspects, and religious significance of the caves. But areas like the pluralistic aspects which is a political system of power with strong dictatorial authorities geological or geographical studies, microscopic studies that could include trade routes, foreign travelers, environmental studies, tourism impacts, etc.

      But presently very little serious work is being conducted. There is a dearth of earnest and profound research work on the Ellora caves and Ajanta caves. The local University has a History Department, but unfortunately, after Dr. Ramesh Shankar Gupte a few heads did some work but nothing that can be considered scholarly. While the Japanese Government is spending crores of rupee on its development high quality scholarship is lacking at both sites.

    • INTRODUCTION

      In the art world, Ajanta and Ellora are virtual goldmines of the most exclusive paintings, sculptures, and architecture in basalt rock. Excavated in the Sahyadri ranges of the Deccan trap rock the caves bring down on earth the celestial land of gods. It was during the ancient period from the 2nd century B.C. to the 11th century A.D. that these caves were excavated. Whether you go to the East. West. North and south of the world it is impossible to witness something so dynamic that leaves the visitor spellbound and speechless.

      Following the number of books and articles written on Ajanta and Ellora it is obvious that the art scholars and researchers have accepted these two world heritage monuments as Indian classical heritage that are amongst the eight wonders of the world. It is difficult to understand how famous or influential they were in the past as beyond a few contemporary references by the Chinese traveler Hieun Tsang, the Puranas, the copper plate inscriptions, and also medieval period reference in records of Aurangzeb Hasan Ganga Bahamanis records of his visit to Ellora caves there is a very little contemporary reference. However, modern-age writers right from the 18th century to date have written monumental works on Ajanta and Ellora. Though Ajanta happens to be a more popular site with most historical scholars, researchers, and even modern travel magazines, Ellora has been a more neglected site, offering immense scope for modern historians and researchers to put more light on these caves.

      Probably the consistent research on Ajanta and Ellora done by writers like Ramesh Shankar Gupta and later by Walter Spink has brought these two sites to the world map. But the excessive attention by Walter Spink given to Ajanta has been especially responsible for the exhaustive work done on Ajanta. Several of his articles published on Ajanta in historical journals like Arti us Asae, Ars Orientals, Ars Buddhica, Art Bulletin, Kaladarsana Marg and several commemoration volumes have focused the world's attention more on Ajanta, comparatively exhaustive research work has not yet been done on second important site of Ellora. Though B. Codrington and J. Perrirai projected a three-part survey of the temples (which did not materialize) still there has been no ownership of Ellora by any modern art historian or scholar who can claim to have done the kind of huge work done on Ajanta.

      Ajanta the more ancient site dating back to the 2nd century B.C. was lost to the world for more than a thousand years and only re-discovered in 1819 by John Smith and his companies from the Madras Regiment. It was only gradually that even after several years of its discovery that the cave temples gained the interest of the world and around the late 19th century they get noticed by visitors. Though individual explorers throughout the 18th, and 19th centuries continued not only visiting the caves but also writing about them, it was only by the early 20th century that tourists started viewing the caves as a significant tourist site. In the 1960s, ’70s, and 80’s the number of tourists started rising.

      Comparatively the neighboring site of Ellora was never lost to the world and was visited by travelers, medieval rulers, noblemen explorers, and pilgrims. Though th(vii)(vi)(vii)(vi)(vii)(vi)ere are scarce puranic references to the religious context, Tirth at Ellora as mentioned by Michale Soar in her research there is no ancient reference to Ellora. A 13th-century Marathi literary work, the Lilacharitra compiled in 1278 describes a visit to the caves by the famous saint Cakradhara. Swami Another medieval Marathi story about queen Manikavati and the king of Elapura also refers to Ellora as a Hindu site Ellora is also mentioned in the Chronicles of Aurangzeb. Travelers from Europe like the French traveler Jean de Thevenot visited the caves in 1666 while another traveler visited the caves from 1701 to 1702. J.B. Seeley’s. The wonders of Ellora or the narrative of a journey to the temples or dwellings excavated out of a mountain of Granite at Ellora in east India 1825 gives a detailed account of the visit. As per Dr. Ramesh Shankar Gupta’s book on Iconography of Buddhist caves Al-Masudi a Muslim Chronicler of the 10th century A.D. also refers to Ellora as dedicated entirely to the pious. Dhavalikar’s research article on Kailasha is interesting. H Goetz believes that Kailasha took two and a half centuries to complete. As per Dr. Ramesh Shankar Gupte’s book The Iconography of; the Buddhist Sculpture (Caves) of Ellora there are passing references to Ellora by foreign authors like Thevenot (1633-67), Niccolao Manucci (1653-1708), Charles Warre Malet (1799) and Captain Seely in 1924 (The wonder of Ellora). The Urdu work (Muhamed Abdul-I-Jabbar Sufi, Tadhkira-I-Salatin-I-Dakan pg. 147 to 150) refers to the approach roads to Ellora caves being repaired for the visit of Sultan Hasan Gangu Bahamani who camped near the caves in 1352 A.D.

      Later authors, and scholars on Ellora included D. Chatham, (1981) Pratiharas from Pattadabal to Ellora in A Krishna Chhavi II (Banaras Bharat Kal Bhavan) pg. 71-79, W. Spink, Ajanta to Ellora, P Sterne Colonnes indienes d’ Ajanta et al Elora, S. Czuma, The Brhamanical Rashrtakuta Monuments at Ellora pg. 1968, R. Parimoo, Ellora Proceedings (1988) A.K. Bhatia, Tourism in India: History and Development (1978) New Delhi Sterling Publisher, Micaela Soar, The Tirtha at Ellora in R. Parimoo Ellora Caves Sculptures and Architecture, New Delhi 1988.

      Several authors have written articles or small booklets or books on Ellora but no exhaustive documentation of these caves has ever been taken up not even by Dr. Babasaheb Ambedkar Marathwada University’s professors from the History Department which is more feasible and appropriate due to the advantage of its proximity to the caves.

      Except for a fairly good amount of work done by Dr. R.S. Gupte, than the professor and Head of the History Department, nobody can claim to have taken this work seriously. As Dr. Gupte has written two books on the Iconography of Hindu, Buddhist, and Jain Caves and the Iconography of Hindu Caves. He also wrote the first descriptive book on Ajanta and Ellora caves. But later scholars focused more on dating, and the chronology and went to lengths to prove their point. There were very few writers who studied the social or economic aspects of the caves exhaustively except for Dr. Dhavalikar on Ajanta and Dr. T.V. Pathy on Ellora’s Cultural Aspects.

      Of course, Ajanta has been a more popular site for explorers, scholars, researchers, and educationists as is obvious from the voluminous works done by pioneering writers like J. Griffith, “The paintings in the Buddhist Caves Temples of Ajanta” two volumes (London 1896) and Ghulam Yazadani, “Ajanta” in four parts each with text and portfolio of illustrations (Oxford 1930, 1933, 1946 and 1955). Other authors who also wrote exhaustively on Ajanta are James Burgess and James Fergusson. James Burgess “Rock Temples of Ajanta, Indian Antiquary, III, 1874 pg. 269-274, The Cave Temples of India (London 1886).

      However, there is only one scholar who can claim ownership of Ajanta caves, who has since nearly 40 years lived and breathed Ajanta visiting it each year and staying at least for 3 to 4 months. Walter Spink who also has been an inspiration for dozens of writers with their special emphasis on chronology has written more than 100 articles in various research journals, and commemoration volumes and also published a few books.

      Walter Spink inspired the writings of Malandra G.H., Dr. Dhavalikar, and many more scholars whose writings reveal strong influences of Walter Spinks's obsession with chronology on the grounds of stylistic Comparisons.

    • INTRODUCTION

      AJANTA AND ELLORA A DIFFERENT IDENTITY
      While Ajanta has always been more famous for its three-dimensional paintings, Ellora another site nearby has been more renowned for its fascinating sculptures. Though Ajanta caves also have sculptures and most breathtaking sculptures they are mostly smaller and more delicate. The sculptures of Ajanta are finely rounded and while the Greek sculptures accentuate the physical prowess through muscle power, Ajanta sculptures are more feminine or effeminate with even male shoulders carved smoothly and the torso too is flat minus any muscular toning. At Ellora, the sculptures are gigantic, though not as flat as Ajanta here too the sculptures reveal no muscular strength.

      Whereas at Ajanta the Gods, Goddesses, and semi-divinities are carved in the image of tomosapien; with two hands and in the same form, but at Ellora, in the Hindu group of caves the sculptures display many arms. The many armed images have come under criticism by many European art historians. Vincent Smith states, Indian Sculpture properly so, called hardly deserves to be reckoned as art. The figures both of men and animals become stiff and formal, and the idea of power is clumsily expressed by the multiplication of members. The many-headed, many-armed gods and goddesses whose images crowd the walls and roofs of temples have no pretensions of beauty and are frequently hideous and grotesque. Mr. Mashell Speaks of “These hideous deities with animal heads and innumerable arms”.

      The condemnation is certainly unjustified as a piece of art is praiseworthy if it can express the passion that animates it, it should exhibit the rhythm and movement of living things. And the sculptures of Ellora are so vibrant, and vigorous that they appear truly impassioned. Many of these images at Ellora exhibit the power and strength that is bestowed exclusively on gods who are different from common human beings. The dances of Shiva at Ellora are some of the most unique images that infuse the varied characteristics of creation, protection, and destruction of ignorance and darkness. The sculptures here are art. It's universal in its appeal to all nations, races, religions, and creeds. The creator has put in all his efforts, mental and spiritual to create these plastic forms to give expression to inner thought through exterior movements.

      Ellora, especially Kailasha, poetry in stone has created some of the most awe-inspiring, amazing plastic forms that have remained in the memories of the most fastidious critics. The image of the Kalyan Sundara murti in Kailasha in its back corridors exhibits the beauty of a newly married couple when Parvati the bride blushes endlessly at the first touch of her Lord Shiva. The artist details her first flush and glows through the two feet that brush each other out of pure bashfulness, her head slightly turned, too timid to directly look into the eyes of her bridegroom, one of the most beautiful sculptures that makes it obvious that the artist had reached a crowning glory in creating plastic forms and infusing it with real life.

      One of the most ingenious figures of Ardha-narishwara is herein Parvati and Shiva become one with the characteristic of both male and female in one image is indeed an example of what height of art and aesthetics the artist and master craftsmen had reached. However one of the most wonderful panels is Ravana shaking Kailasha on the right side of Kailasha. An image that is glorified and venerated for its strength and deep significance wherein Ravana is shown shaking Kailasha while the common man runs helter-skelter out of fear, where the musicians are running with their musical instruments on their heads, the monkeys are climbing higher on the trees while Parvati is clinging to her husband as is normal for a female. But Lord Shiva’s only gesture is a surprise (dismay) where he is shown surprised that anybody could dare disturb the peace of Kailasha (Shiva’s advice). A realistic representation of the perpetual war between good and evil, between the gods and the demons and always in deva-loka it is the ‘good’ that wins over the evil designs of the demon. The panel itself narrates the story in a very simplistic style.

      Ellora is a monument of information that a genuine researcher can dig or investigate and come out with exhaustive information that can be contained into a minimum of ten volumes. No single researcher has even as yet dared to complete the documentation of each cave due to its expansive nature. It will be time-consuming as the researcher will need to spend at least ten years to complete something of this dimension. It will probably require patience, sacrifices, intelligence, physical stamina, and mental energy.

      The second site of Ajanta is more fortunate in evoking the interest of many scholars, probably due to its compact nature, natural beauty, and easier perception. The paintings are spread on the walls. Pillars and ceilings of caves no. 1,2,9,10,16 and 17 contain geometrical ad decorative motifs and designs on the ceiling and pillars while the walls of the temple display the jataka katas. Through detailed work on its chronology, dating, art, and aesthetics have been done as well as its political patronage comparatively work on the social, economic, and cultural aspects is sketchy. Though cultural aspects have been studied by Dr. Dhavalikar, Ajanta A Cultural Study is a sketchy study and needs a lot of additions. Though some amount of work has been done on the ‘Textiles of Ajanta’ and ‘Jewelry of Ajanta Paintings’ by Dr. Dulari Gupte Qureshi every such minute aspect needs to be touched. Architecture, art objects, decorative motifs and designs, geometrical designs utensils, arms and armor, flora and fauna that yet have not been dealt with by any scholar.

      AJANTA TEXTILE
      The Ajanta paintings reveal the legend of the fabled fabrics of a bygone era, variegated, magical, and in kaleidoscopic colors. The exquisite genius of the craftsmen and artisans of those days.

      As one moves from cave to cave viewing the paintings, one perceives textiles of the finest quality, showing excellent weave texture and decorative motifs, reminding us of descriptions to be found in classical Sanskrit drama. The textiles in the paintings display a patient weave, elegant embroidery, and tie and dye techniques, embellished with the touch of master hands.

      An Ancient Art
      The art of textile making in India is an ancient one. According to Dr. Dhavalikar (in his book ‘Ajanta: A Cultural Study’), a significant discovery was that of a piece of cotton cloth sticking to a silver vase excavated in Mohenjodaro. A similar cloth was called Sindhu in Babylonia and Sindon in Greece. It was made of cotton and it originated in India.

      Ancient Vedic texts also refer to several varieties of cloth such as Dursa, Ksauma, and Tarpya. Some among these were silk. The Mahabharata refers to shining golden woven cloaks and there are references to Manichura probably a fabric with a pearl woven fringe.

      The ancient text Harsacharitra mentions a cloth Indra Yudhambara, meaning a rainbow which also finds mention in the Kadambari texts. The ancient historian Bana records that emperor Harsa’s robes were ornamented with large storks and rows of flamingos. The old Jataka tales often talk of Banaras cloth while other fold tales mention bright yellow robes called Gandhara.

      Interestingly at Mandsaur in the erstwhile royal state of Gwalior, there still exists a stone inscription of the 5th century A.D. recording how at an earlier but unspecified date an entire community of silk weavers had migrated from one region to another to establish themselves in the market town under royal patronage.

    • INTRODUCTION

      References in Vedas and the Vedantas to the cloth of gold suggest the antiquity of the Indian Kamkhab brocading though the technique may not have originated in India.

      In the Artha Shastra, there is a mention of how during the Mauryan period (3rd century B.C.) workshops were established for the production of designed textiles.

      The Ajanta paintings present a mystifying maze of textile patterns. It is difficult to identify the fabrics whether it is cotton, silk, or some other. But if a profound analysis is done, certain broad distinctions emerge. The most observed designs in the Ajanta textiles are the horizontal and vertical bands filled with geometrical designs like chevrons. Circles, stripes, or quite close to the designs found on the Burmese waist clothes.

      Also, there are formal floral motifs and scrolls sometimes enlivened with processions of sacred geese or diagonal bands of these geese. Besides there are patterns made up of simple dots or groups of dots Stripes appear in three varieties. Beaded bands, and ladder patterns sometimes in combination with thick and small checks.

      The textiles also show crosses, lozenges in horizontal bands, stars, diamond shapes, triangles, and tiny flowers. Sometimes the cloth simply has a border adorned by pearl strings or is embroidered. But very rarely does one come across animal or bird patterns.

      Muslim and Knits
      But there are enough instances of fine muslin cloth, worn exclusively by the royal ladies probably the Magnamsuka type which has been referred to by the ancient historian Bana, Even the ancient Creeks admired this cloth. So much that they used to compare it with the slough of serpents or the vapor from milk. One can visualize the sheer savoir fairs of the artists who created textiles of such finesse and excellence.

      Apart from these, there are several specimens of cut and sewn garments. In one or two illustrations, even the stitches are transparently sketched.

      Fashionable Women
      The indoor costumes of women consisted of a waist cloth of varying length and texture, usually supported by a beaded or jeweled belt. Occasionally a breast cloth is seen and sometimes a muslin scarf. Some of the knee-length dresses are tight-fitting and open on one side or either side. Upper garments were not common but there are several examples of blouses, some long-sleeved. Some short-sleeved and even some sleeveless ones.

      The Odhni was not worn to cover any part of the body, but as a playful lover’s gesture. The ghagra or the gathered skirt is conspicuously absent. Significantly, several lower garments worn by females resemble the typical Maharashtrian kashta type of sarees.

      Men’s Clothes
      The waist cloth was the chief costume of men, but hunters and forest dwellers wore a small loin cloth. Soldiers and horsemen wore long-sleeved tunics down to the knee. Jackets ended above the waist and were embroidered at the wrist, upper arm neck, and sometimes down the front.

      In one of the frescoes in cave no. 1 a ceiling scene identified as the Persian embassy, some foreigners are shown wearing pointed caps, long-sleeved tight-fitting tunics, tight trousers, and boots. Other paintings show men wearing socks and mufflers.

      The cave is strewn with an illustration of bedspreads with geometrical and tiny floral designs. Kings are shown either seated on ottomans or resting against bolsters decorated with dotted, floral, banded, or geometrical designs.

      Nature and the environment have surely inspired the motifs and patterns of the Ajanta textiles. Stylized floral. geometric, linear, and diamond-shaped compositions in fascinating colors from nature abound. Large vivid geometrical shapes in intricate schemes of exciting tones of purple, yellow, and brown. Red, green, white, black, and Persian blue reflect a rare creativity accomplished with consummated skill.

      Temptations of Mara
      I felt Ajanta's paintings had a deeper content than would allow at first sight. A mere cursory study list is not sufficient to comprehend the spirit of Ajanta. Its eloquent line work is pregnantly expressive, magnifying the obscured and veiled lines of ornaments, anatomical particulars of the humans being accentuating their facial contours, lines, and profiles, flora and fauna, textiles if minutely studied are articulately elucidating the idiom, style, and diction so fluently, that a deep appreciative subreption of movement, bustle, and animation is aroused among the viewers.

      Forces of Temporal Power
      The line drawing and painting which genuinely impressed me and had me absorbed and ruminating was a fascinating recreation of the forces of temporal power, an illusion to dissuade the Buddha from his mission. Envisaged by the artists of Ajanta, the Temptation of Mara is a feast for any viewer who can penetrate its artistic grandeur and idiosyncrasy.

      The storytelling quality of the painting, the unity of composition and the ingenuous disposition of the composition, and the ingenuous disposition of the figures attest to the mastery of the painter’s art. The human mind has visualized and conceived this scene, supported by fantasy, mythology, and legend so sublimely and flawlessly that it has reached a pinnacle of masterly creativity.

      Temptations
      This scene at Ajanta, painted in Cave 1, on the left wall of the antral, portrays Buddha practicing auspicing austerities which he knows are likely to lead him to the discovery of Truth. Initially, Mara sends his daughters to seduce the Buddha by singing and dancing but they return defeated. Then angry he creates a vision of demons, ugly, horrible creatures, with a thousand months, potbellied and deformed, drinking blood or devouring snakes, uttering inhuman cries, spreading darkness, armed with spears bows, and maces. This hallucination of malevolent elements proved ineffectual in confronting the supreme power of Buddha and the threatening elements only find themselves paralyzed with their arms bound to their sides.

      Mara-Mephistopheles
      The role of belief in Mara in Buddhist History appears to have been to provide a transition from popular nations to discarnate evil demons to the more abstract analysis of the human situation in more and more psychological terms. It showed a helpful way of understanding resistance to the holy life which a man might encounter but which he is assured can be overcome by following the Buddhist path. Like Mephistopheles or the devil of Western religious thought, Mara is regarded as a demoniac being who is an arch enemy of all who seeks to live the holy life, According to Buddhist tradition Mara sought to deflect the Buddha from attaining Nirvana.

      This panel has succeeded in unraveling the mysteries of Ajanta painting which; give us an insight into the absolute mastery of the Ajanta artists over line work rather than painting. This painting is a masterpiece of the Ajanta artists. In these caves, there are scores of other paintings hitherto unnoticed by art levers, but it will take a day before can unveil them one by one.

    • CONTENTS

      Contents

       

        Foreword (ix)
        Preface (xi)
        Acknowledgement (xiii)
        List of Figures (xv)
        List of Plates (xix)
        Introduction (xxv)
      Chapter-I. Ajanta 1-56
      Chapter-II. Ellora 57-95
        Bibliography 96-104
        Index 105-108

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