Post on 20-May-2015
description
Paintings of Ajanta Caves
(2nd century BC to 6th century AD)
Appreciation ofMahajanaka Jataka
composition
by
S. Swaminathan(sswami99@gmail.com)
Presented byS. Swaminathan
Mahajanaka Jataka is an important composition in Cave 1
belonging to the Baroque period (6th century
AD).
Due to fortunate survival of most of the composition
the narration is taken for a detailed discussion
The Story
Bodhi-sattva born Mahaajanakawhose father was banishedfrom his kingdomby his brother, Pola-janaka.
Mahaa-janaka went all over the worldas a merchant andamassed enough wealthto help him regainhis father's kingdom
The Story
Pola-janaka died survivedby his most beautiful
and haughty daughter, ShivaaliThree almost impossible conditions
were set to marry her.
Mahaa-janaka fulfilled all threeand married Shivaali
The Story
However, the pomp and luxuries ofthe palace life was not to his liking.
In spite of the pleadings from his queen,Mahaa-janaka finallyrenounced the world andwent to the Himalayasto meditate upon the Truth
Narration in this cave starts afterthe marriage of Mahaa-janka
Importance of the Panel
A major portion has survived
Important from art history point of view
Composition shows the beginning ofdeterioration fromthe classical elegance
to baroque ostentation
Offers scope for a study ofart style andmethod of narration of this
periodProvides a wealth of information
Regarding jewellery,
textile and dress,musical instruments,architecture, etc
Importance of the Panel
Location of Composition
EntranceTo Cave 1
Shrine
Scenes from this jaataka are painted on the left wall of the main hall
Composition
Story is in four acts:1. The king in dilemma
2. He seeks advice from an ascetic3. He abdicates
4. He leaves the palace
Composition
Act 1King in dilemma
Act 2King goes to seek advice
Act 3King abdicates
Act 4King leaves palace
Ship wreck(An earlier scene)
Composition
Ship wreck(An earlier scene)
Act 1King in dilemma
Act 2King goes to seek advice
Act 3King abdicates
Act 4King leaves palace
Act One
Mahaa-janaka in Dilemma
The newly wed king is dissatisfiedwith the pompous life
The queen attempts to captivatehim with all her charm
The king goes out to seek advicefrom an ascetic
Scene 1: Queen captivating Scene 2: Dancer with musicians
The Scene
Mahaa-janaka in DilemmaThe bejewelled kingdoes not look at Shivali,but has a wild andvacant look.His right handsuggests despair.
Queen captivating
Queen, dressed in‘nakedness', leansagainst the king.Every line of her figureexpresses her attitude ofpassionate yielding
The Court
The maids are looking atthe couple. Their looksinvite the attention the
pathetic kingVariation in poses and
the varieties of textilesare worth noting
A dwarf in attendancesitting on the ground
Musicians accompanying the
Dancer
The dancer issupported bymusicians playingflute, cymbals,drums anda stringedinstrument
Dancing Scene
The musicians,like the dancer,
show greatdynamism and
movement
Characters shownin variety of body
postures
The dancer strikes a graceful pose, her hands a
mudra.
Her ring set with a small mirror, the ear-rings of
elaborate designHer head-dress of strings
of gold beads or pearls.Her plaits entwined with
flowers.
The Dancer
She wears a long jacket andA close-fitting blouse.
Her striped skirt is loose and long.
The Scene
The palatial surroundings and decorations,accompaniment of a host of musical instruments,
fantastic garments and elaborate ornamentsall successfully contributed to
a spectacular scene
Act TwoKings seeks Advice
The queen was not successfulin her attempt
in holding back the king
Mahaa-janaka's mental turmoilhas not ceased
He goes to Himavali Hillsto seek advice from an ascetic
The Scene
King on anElephant
Ascetic
King listening
Mahaa-janaka goes out
Mahaa-janaka goes out throughthe Palace-gate on an Elephant
Mahaa-janaka meets an Ascetic
The ascetic is deliveringa sermon. The kinglistens in deep reverence
A pair of deer is seen with
faces tilted up,as if in rapt
attention.
The King listens to
the Sermon
Casting off most ornaments,
the king listens to the sermon
in great humility andutter surrender,
his hands folded in prayer.
Act ThreeMahaa-janaka announces
his Decision
The enlightened king announces
his decision to abdicate
The queen listens stoicallywhile the royal household
is perplexed
The Scene
Queen Mother admonishes
Shivali
Queen-mother admonishes
the queen for letting
the king meet the ascetic
Mahaa-janka announces his Decision
The king, serene andcomposed, announces
his decision to renounce
Shivali receives the News
The queen,better clad and composed,
receivesthe heart-breaking news
Bewildered Royal Household
Exquisite portrayal of women in
varieties of postures
One girl stunnedwith her eyebrows
drawnand eyes
dilated.
All are in great animation.
Another is musing with afinger on her cheek
Act FourMahaa-janaka abdicates
Finally, the king leaves the country
to meditate on the dharma
Mahaa-janaka Departs
King leaves in fullregal splendour,
led by a processionof his loyal subjects
RoyalMusicians
A flautist, a conch-blower, a cymbal playerand a mridangist lead the procession
Women watching the Procession
Geese-motif ofthe dress worn by
a woman is noteworthyAn example of
expert draughtsmanshipand excellent colouring
Portrayal of Characters
Continuity in dress and physical features of characters maintained
This mural affords excellent scopefor studying of portrayal of characters
while bringing out contrast in
the expressions of characters
Mahajanaka and Shivali
The king depicted three timesand the queen twice
Though the location the same,the emotional atmosphere
different
Mahajanaka
In dilemma
Listening to Sermon
Abdicating
The newly-wed kingin regal splendour
But he hasa vacant lookreflectinghis mental conflictand his handsshowing his inner pain
- two rows of necklacessparkling with diamondsand pearls, andpearl-studded sacred-thread
In Dilemma
Listens to Sermon
When he met the ascetic the
elaborate necklace replaced with
a less ostentatious oneNow his deportment of
humility and utter surrender,
his hands folded in prayer.
AbdicatingHe had cast off
every-thing including
the sacred-thread, excepting
the close fitting beads.
His visage is serene,but of
determination.His hands compose
preaching-attitude
showinghe has now found
the path.
Shivali
Captivating
Hearing the News
Captivating
‘Dressed in nakedness’she is determinedto win overher husband usingall her charm.
Receiving the News
She is now better-draped, sitting before
the king,fully composed and
readyto receive
the heart-breaking news.
Musicians andMusical Instruments
Ajanta offers Scope for studying
Indian Musical HeritageA Variety of musical Instrumentsdepicted from2nd Century BC to 6th Century AD
Both Continuity and Changeover the Ages can be studied
Dancer is accompaniedby musicians playing
standing drum andstrinag instrument,both obsolete.
cymbals and flutescommon even today,
the bell-shaped drum,
closer to today’s ‘udukku’
used in folk music,
In the scene of ‘the king abdicating’ the
musicians shown playing
conch-shell,used even today
heralding arrival ofgods or dignitaries,
mridangam(or pakhawaj) and
flutes in use today
Musicians are shown
in Padmapanipanel, Cave 1
in ‘Descentof Indra,Cave 17
Dancers and Dancing
Dancers have been portrayedboth in the pre-christian
erapaintings and in the later
scenesChange over this period andcontinuity till date can be
studied
Dancing in the Hinayana Period
Scanty clothing andornaments restricted toconch-shell banglesare stamp ofunaffected spontaneityof the pre-christian erapainting
Dancingin the Mahayana
Period
Dancing pose, gestures,shape of eyes andthe general atmosphere epitomise an advancedphase of dancing
Dancing is now more stylised.Beautifully designed garments,
the glittering trinkets andbewildering coiffure of the dancer
Drawing in Perspective
Drawing in perspective gives
an illusion of distance.In true perspectivethe farther objects look small
True Perspective
The Monastery in Cave 17is in true Perspective
Reverse Perspective
The buildingin front of which
the dancer is performing is
drawnin the reverse
perspective
Producing Relief through Colouring
Ajanta artists have usedvarious techniquesfor producing depth and
reliefthrough skilful use of
coloursVartana is a method of shading
Ujjotana is adding ‘high-lights’Blue colour for the background
On shoulder, armsand handsairka, a wash technique,one of vartana methods,is used.
On the forehead,cheeks and nose,
to showelevation of form,
Ujjotana methodof applying white patches
can be seen
Blue colour used,especially for background,
to create an illusion of depthby contrasting with
the warm redand brown colours
Draughtmanship
- the varying thickness of line drawnwith a free flowing sweepof the brush to depict
The perfection ofpainting technique is displayed
in the extraordinarybreadth and confidence ofdraughtsmanship
oval faces, arched eyebrows,aquiline noses, andsensitive lips
Draughtmanship
Shad-danta Jataka, Cave 17
A relaxed monkey,consisting basically of
one masterlysweep of brush
starting beneath chinand forming a curve
outlining headand spine
and terminatingbeneath knee-cap
Body Postures (Sthaana-s)
In all the scenes depicted in this narration,every one of the women is shownin different positions
from the rijvagata (frontal)to parshvagata (strict profile)
to anriju (back view)
Dancing Girlwith
Musicians
DisturbedRoyal
Household
Demarcation of Scenes and Acts
The ajanta artists followedcertain conventions incomposing the narration
A gate is often placed to heraldthe beginning of an act
Within an act pillars mayseparate the scenes
Gate separating Acts
Act 1King in Dilemma
Act 2King goes to seek advice
Act 3King abdicates
Act 4King leaves Palace
Ship Wreck(An earlier Scene)
King inDilemmaScene 1
King in DilemmaScene 2Dancer with Musicians
PillarsseparatingScenes
Contemporary fashion
Ajanta is a treasure house to studythe contemporary fashionin textiles, jewellery, etc
There are no ‘monotonous’repetitions in the dress
Textiles
The girl sportsupper-garmentwith geeseprinted on it- a fashionreferred to incontemporaryliterature
The glorious tradition of ikkat,
a resist-dye method,where yarn is dyed
to produce a design, leading to today’s
Patola and Pochampalli,was initiated here.Maha-janaka Jataka, Cave 1
Textiles
The tailored dress of dancera proof of high degree ofsophistication inbothfabric design and dress-making
JewelleryArsi,Thumb-ring setwith a MiniatureMirror
Karna-pushpam,Ear-rings ofelaborate Design
Sharashri,Head-dress ofGold-beadsand Pearls
Hairdress
A variety of hair-doseen in Ajanta
This is only a drop of the Ajanta ocean
The narration ofSimhala AvadhanaandVishvantara Jatakaboth in Cave 17belong to the classical periodand are of compositions of unsurpassing beauty
Sutasoma Jataka in Cave 17is an extensive composition
of many features
The Mara’s Episode and Champeyya Jaataka,
both in Cave 1, are of compact design
worth studying
It is not surprising that Ajantawas the source of inspiration
for paintings not only ofthe Indian subontinant,but of almost entire Asia
AJANTA IS WORTH A VISIT
Thank you
S. Swaminathan