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)
• Nanda’s conversion (Cave 1 & 16)
• Miracle at Sravasti (Cave 2)
• Buddha’s visit to Tushita Heaven
• Mayadevi’s dream
• Court of King Shuddhodana
• Mayadevi beside a pillar
• Birth of Budhha
• Seven Steps of baby Buddha
• Ladies (devotees) with offerings
• Taming of Nalagiri or Miracle at
Rajagraha (Cave 17)
• Preaching of Buddha
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