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Figures in these caves are painted with considerable naturalism and there is no over-stylisation. Events are grouped together according to geographical location. Tiered, horizontally arranged figures appear as a convenient choice of the artisans.
Separation of geographic location has been indicated by using outward architectural bands.
Figures appear like the Sanchi sculptures which indicate how the lithic and painting traditions were progressing simultaneously. The frontal knot of the headgear of the figures follows the same pattern as that of the sculptures. However, there are a few different patterns of headgear. The second phase of paintings can be studied from the images of the Buddhas painted on the walls and pillars of Cave Nos. 10 and 9. These Buddha figures are different from the figures painted in 5th century CE. Cave excavation and painting were simultaneous processes and dating of the paintings follows the date of the cave excavations. Next stage of development is observed mainly in the paintings of Cave Nos. 16, 17, 1, and 2. However, it does not mean that pictures had not been painted in other caves. Infact almost in all the finished excavations, pictures have been painted but very few have survived.
Paintings have typological variations in these caves. It may also be observed that various skin colours are used in the paintings such as brown, yellowish brown, greenish, yellow ochre, etc. which represent a multicoloured population. Paintings of Cave Nos. 16 and 17 have precise and elegant painterly quality. They do not bear the ponderous volume of the sculptures in the caves. Movements in the figures are very rhythmic. Brown thick dark lines are used as contours. Lines are forceful and full of energy. Attempts are also made to give highlights in the figural compositions #examrace #upsc #ugcnet
5 сен 2024
