Arts 2013, 2(3), 134-150; doi:10.3390/arts2030134
Article

Architectural History and Painting Art at Ajanta: Some Salient Features

1 Archaeological Survey of India, Science Branch, Western Zone, Aurangabad-431004, India 2 Department of Chemistry, Dr.Babasaheb Ambedkar Marathwada University, Aurangabad-431004, India
* Author to whom correspondence should be addressed.
Received: 25 July 2013; Accepted: 30 July 2013 / Published: 21 August 2013
(This article belongs to the Special Issue World Rock Art)
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Abstract: The present paper deals with the period of India’s greatest cultural fluorescence, The Golden Age. A lively intellectual debate has been going on among historians and archaeologists on the subject of the chronology of the caves at Ajanta. The study shows addition of many iconographic styles from Ajanta to Bagh caves and vice-versa due to movement of skilled workers and craftsmen between these two Buddhist sites. Many iconographic figures were added / deleted depending on the local condition of rock at both the sites. The art and architecture of these sites reflects India’s great materials culture. The Ajanta paintings are not just a milestone in the history of development of world art but they also convey unique insights about the life of ancient Indians and their culture. This paper outlines some of the architectural features introduced from Ajanta into the other cultures. Furthermore, structural conservation measures and scientific methodology adopted for the preservation of Ajanta murals have also been highlighted.
Keywords: Ajanta; art; architecture; blending of colors; solstices; conservation

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MDPI and ACS Style

Singh, M.; Arbad, B.R. Architectural History and Painting Art at Ajanta: Some Salient Features. Arts 2013, 2, 134-150.

AMA Style

Singh M, Arbad BR. Architectural History and Painting Art at Ajanta: Some Salient Features. Arts. 2013; 2(3):134-150.

Chicago/Turabian Style

Singh, Manager; Arbad, Babasaheb R. 2013. "Architectural History and Painting Art at Ajanta: Some Salient Features." Arts 2, no. 3: 134-150.

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