The subject matter of these paintings is almost exclusively Buddhist, excepting decorative patterns on the ceilings and the pillars. They are mostly associated with the Jatakas, collection of stories, recording the previous births of the Lord Buddha. The compositions of these paintings are large in extent but the majority of the figures are smaller than life size. Principal characters in most of the designs are in heroic proportions.

Centrality is one of the main features of the composition so that attention is at once drawn to the most important person in each scene. The contours of Ajanta figures are superb and reveal a keen perception of beauty and form. There is no undue striving after anatomical exactitude, for the drawing is spontaneous and unrestrained. The painters of Ajanta had realised the true glory of the Buddha, the story of whose life was employed here by them as a motif to explain the eternal pattern of human life. The stories illustrated here are continuous and elaborate presenting the drama of Ancient India enacted in the palaces of the Kings and in the hamlets of the common people equally engaged in the quest for the beautiful and spiritual values of life.

The earliest paintings at Ajanta are in cave No. IX and X of which the only surviving one is a group on the left wall of cave X. This portrays a king with attendants in front of a tree decked with flags. The King has come to the sacred Bodhi tree for fulfilling some vow connected with the prince who is attending close to the king. This painting, though a fragmentary one shows a well developed art both in composition and execution which must have taken many centuries to reach this stage of maturity. There is a close resemblance in the representation of human figures with regard to their dress, ornaments and ethnical features between this painting and the sculptures of Amaravati and Karle of early Satavahana rules of circa 2nd century B.C.

Another surviving painting at Ajanta, the enormously long continuous composition of Shaddanta Jataka along the right wall of the same cave (cave No.X) belonging to circa 1st century A.D. is one of the most beautiful but unfortunately one of the worst damaged and can only be appreciated at the site.

We have little evidence of paintings of the next two to three centuries though it is certain that a good amount must have once existed. The next surviving and the most important series of Ajanta paintings are in cave No.XVI, XVII, II and I executed between the 5th and 7th century A.D.

A beautiful example of this period is the painting which illustrates a scene of Jataka and commonly called 'the dying princess' in cave No.XVI painted in the early part of the 5th century A.D. The story tells how Nanda who was passionately in love with this girl was tricked away from her by the Buddha and carried up to heaven. Overwhelmed by the beauty of the Apsaras, Nanda forgot his earthly love and consented to enter the Buddhist order as a shortcut to heaven. In time, he came to see the vanity of his purely physical aim and became a Buddhist but the Princess, his beloved, was cruelly left to her fate without any such consolation. 'It is one of the most remarkable paintings of Ajanta as the movement of the line is sure and firm. This adaptation of line is the chief character of all oriental paintings and one of the greatest achievements of the Ajanta artists. Emotion and pathos are expressed here by the controlled turn and poise of the body and the eloquent gestures of the hands.

We have little evidence of paintings of the next two to three centuries though it is certain that a good amount must have once existed. The next surviving and the most important series of Ajanta paintings are in cave No.XVI, XVII, II and I executed between the 5th and 7th century A.D.

A beautiful example of this period is the painting which illustrates a scene of Jataka and commonly called 'the dying princess' in cave No.XVI painted in the early part of the 5th century A.D. The story tells how Nanda who was passionately in love with this girl was tricked away from her by the Buddha and carried up to heaven. Overwhelmed by the beauty of the Apsaras, Nanda forgot his earthly love and consented to enter the Buddhist order as a shortcut to heaven. In time, he came to see the vanity of his purely physical aim and became a Buddhist but the Princess, his beloved, was cruelly left to her fate without any such consolation. 'It is one of the most remarkable paintings of Ajanta as the movement of the line is sure and firm. This adaptation of line is the chief character of all oriental paintings and one of the greatest achievements of the Ajanta artists. Emotion and pathos are expressed here by the controlled turn and poise of the body and the eloquent gestures of the hands.

There are flying apsaras in the cave No. X belonging to the late 6th century A.D. The rich ornamentation which was the characteristic of the period is beautifully portrayed in her turban decked with pearls and flowers. The backward movement of the necklace suggests the flight of the apsara which is painted in a masterly way.

The later paintings at Ajanta by far the larger part of what survives was done between the mid 6th and 7th century A.D. and are in cave No.II and I. They also illustrate the Jataka stories with greater details and ornamental designs.

The scenes of Mahajanaka Jataka in cave No.1 are the best surviving examples of Ajanta paintings belonging to this period.

In a scene Prince Mahajanaka - the future Buddha, discusses the problems of the kingdom with his mother, the queen who is shown in an extremely graceful pose and is surrounded by maids. A few of them with fly whisks are seen standing behind the king. In their discourse, the Prince probably is seeking his mother's advice before beginning his march to reconquer his kingdom which has been usurped by his uncle.

A detailed scene of the Prince shows the graceful gesture of his right hand. The next scene of the story represents the journey of the prince on a horse back with all his retinue. The firm determination is beautifully suggested by his highly spirited horse while the prince himself is shown as a true embodiment of tenderness as if melting in Karuna (kindness). These three maids belong to the royal house. One is wearing a white robe with a beautiful ornamental design of ducks.

The Prince arriving in his uncle's capital discovers that his uncle had just died and had designated as his successor the person who would win the hand of his daughter, Sivali. The latter fell in love with the Prince and the omens destined him to occupy the throne. He was, therefore, enthroned and a great rejoicing followed.

The consecration ceremony scene where the Prince is shown being bathed by two jars over his head. On the left side of the scene, a maid with a toilet tray is approaching the canopy. This shows the royal harem where king Mahajanaka is sitting majestically while queen Sivali is beaming gracefully towards her beloved. They are enjoying dance and music.

The next scene portrays a sumptuously dressed girl dancer wearing a beautiful diadem, her hair is adorned with flowers and she is dancing to the accompaniment of an orchestra. On the left, two women are playing the flute and on the right are several women musicians with various instruments including two drums and cymbals. The dancer and the musicians have been invited by queen Sivali to please and divert the king and to dissuade him from renouncing the world. The king, however, decided to live an austere life on the roof of his palace and he goes to hear the sermon of a hermit who will strengthen him in his resolution. His journey on an elephant's back is a representation of a royal procession just passing through the royal gateway. The last scene of the story depicts a courtyard of a hermitage where the king is listening to the discourses of the hermit.

The painting of Bodhisatva Padmapani from cave I is one of the masterpieces of Ajanta Painting executed in the late 6th century A.D. In princely fashion he is wearing a crown adorned with sapphires, his long black hair falling gracefully. This beautifully ornamented figure is more than life size and is shown stopping slightly and holding in his right hand a lotus flower. In the words of one of the contemporary art critics: "It is in its expression of sorrow, in its feeling of profound pity, that this great art excels; and in studying it, we would realize that we are face to face with a noble being under the weight of a tragic decision, the bitterness of renouncing forever a life of bliss is blended with yearning, sense of hope in the happiness of the future". The strong direct drawing of the shoulder and arms is masterly in its unaffected simplicity. The eyebrows upon which depends much of the facial expression are drawn by simple lines. The way of holding the lotus 'and the gestures of the hand, as shown here, is the greatest achievement of the Ajanta artists.

The representation of one of the memorable events of Buddha's life after enlightenment and which ranks among the best of the paintings at Ajanta, is in cave No.XVII painted probably in circa 6th century A.D. This represents Buddha's visit to the door of Yashodhara's abode in the city of Kapilavastu while she herself has come out with her son Rahula to meet the Great King. The artist had drawn the figure of the Buddha on a large scale, apparently to indicate his spiritual greatness as compared with ordinary beings for instance the representation of Yashodhara and Rahula looks very small by comparison. The head of Buddha is significantly inclined towards Yashodhara, showing compassion and love. The features of the face are obliterated but the eyes are clear and the meditative gaze suggests an absorption of mind in the spiritual. There is a halo around the Great King's head and above it, a Vidhyaduri is holding an umbrella as a symbol of his sovereignty over the earth and heaven.

Below, by the side of the door the figures of Yashodhara and Rahula are painted, the latter looking up towards his father with affection mixed with astonishment since he was only seven days old when Gautama renounced the world. Yashodhara has been shown with all charm of natural beauty and outward adornments of costume and jewellery but far more striking is the appealing manner in which she is looking towards Buddha, more with a feeling of love than reverence. The rhythmic treatment ,of the different parts of her body, the graceful pose and the fine brush work shown in the curls above her temples and in the locks spread over her shoulders all portray an art of an high order and makes this painting one of the finest portrayals of feminine elegance and beauty.

A beautiful depiction of a feminine beauty as conceived by an Ajanta artist is apparently recognized as Maya Devi, the mother of the Buddha whose beauty the artist wanted to delineate without the restriction imposed by the incident of any story. The princess is depicted with all bodily charm which the painter had skilfully exhibited. The painter has chosen a standing pose for the princess and to add naturalness and grace he has made her lean against a pillar so that the beauty of her slender and slim limbs may be best appreciated. By an inclination of her head the artist has shown very cleverly the charm of the dark coils of her hair adorned with flowers.

Along-side these Buddhist paintings there are also a few Brahmanical figures of iconographic interest.

Indra, a Hindu divinity, is depicted flying amid clouds together with celestial nymphs holding musical instruments. Indra is wearing a royal crown, pearl necklaces and in his girdle a sword and a dagger. The speed of his flight is suggested by the backward movement of pearl necklaces. This is from cave No.XVII and belongs to circa 6th century A.D.

Besides these religious paintings there are decorative designs on ceilings and pillars of these cave temples. Unlike the epics and continuous Jataka paintings there are complete designs within their squares. The whole flora and fauna in and around the artists world are faithfully portrayed but never do we find any repetition of form and colour. The artists of Ajanta, as if here suddenly emancipated from the dictum of the Jataka text, have given free reign to their perception, emotion and imagination.

An example of ceiling decoration is from cave No.XVII and belongs to circa 6th century A.D. The pink elephant is from the same decorative painting 'and can be seen in detail. This striking elephant represents a fme delineation of living flesh natural to that animal along with a dignified movement and linear rhythm and can be termed, perhaps, as one of the finest works of art.

The paintings from Bagh caves in Madhya Pradesh correspond to those paintings of Ajanta in cave No.I and II. Stylistically both belong to the same form, but Bagh figures are more tightly modelled, and are stronger in outline. They are more earthly and human than those at Ajanta. Unfortunately, their condition is now such that they can only be appreciated at the site.

The earliest Brahmanical paintings so far known, are the fragments found in Badami caves, in cave No.III belonging to circa 6th century A.D. The so called Siva and Parvati is found somewhat well preserved. Though the technique follows that of Ajanta and Bagh, the modelling is much more sensitive in texture and expression and the outline soft and elastic.

The paintings of Ajanta, Bagh and Badami represent the classical tradition of the North and the Deccan at its best. Sittannavasal and other centres of paintings show the extent of its penetration in the South. The paintings of Sittannavasal are intimately connected with Jain themes and symbology, but enjoy the same norm and technique as that of Ajanta. The contours of these paintings are firmly drawn dark on a light red ground. On the ceiling of the Verandah is painted a large decorative scene of great beauty, a lotus pool with birds, elephants, buffaloes and a young man plucking flowers.

The next series of wall-painting to survive are at Ellora, a site of great importance and sanctity. A number of Hindu, Buddhist and Jain temples were excavated between the 8th and 10th centuries A.D. from the living rock. The most impressive of these, the Kailashnath temple is a free standing structure which is in fact a monolith. There are several fragments of painting on the ceiling of the different parts of this temple and on the walls of some associated Jain cave temple.

The composition of the paintings at Ellora is measured out in rectangular panels with thick borders. They have thus been conceived within the given limits of frames that hold the paintings. The space, in the sense of Ajanta, therefore, does not exist at Ellora. So far as the style is concerned, Ellora painting is a departure from the classical norm of Ajanta paintings. Of course the classical tradition of modelling of the mass and rounded soft outline as well as the illusion of the coming forward from the depth is not altogether ignored. But the most important characteristic features of Ellora painting are the sharp twist of the head, painted angular bents of the arms, the concave curve of the close limbs, the sharp projected nose and the long drawn open eyes, which can very well be considered as the medieval character of Indian paintings.

The flying figures from cave temple No.XXXII at Ellora belonging to mid-ninth century A.D. are beautiful examples of swift movement through clouds. Both the characteristics, the rounded plasticity of Ajanta modelling of classical period on the faces and the angular bends of the arms of medieval tendencies are well marked here. It is perhaps a product of the transitional period.

The most important wall paintings in South India are from Tanjore, Tamil Nadu. The dancing figures from Rajarajeswara temples of Tanjore belonging to early 11th century A.D. are beautiful examples of medieval paintings. The wide open eyes of all the figures are a clear negation of Ajanta tradition of half closed drooping eyes. But the figures are no less sensitive than the Ajanta figures, they are full of movement and throbbing with vitality.

Another example of a dancing girl from Brihadeshwara temple of Tanjore belonging to the same period is a unique representation of swift movement and twisted form. The back and the hips of the figure are vividly and realistically shown with the left leg firn on the base and right thrown in space. The face is shown in profile with pointed nose and chin while the eye is wide open. The hands are outstretched like a sharp line swinging in balance. The rapturous figure of a dedicated temple dancer with vibrating contours is a true embodiment of sophistication in art and presents a charming, endearing and lovable feast to the eyes.

The last series of wall painting in India are from Lepakshi temple near Hindupur belonging to 16th century A.D. The paintings are pressed within broad friezes and illustrate Saivaite and secular themes.

A scene with three standing women inspite of their well built forms and contours has in this style become somewhat stiff. The figures are shown in profile rather in an unusual fashion, specially the treatment of the faces where the second eye is drawn projecting horizontally in space. The colour scheme and the ornamentation of these figures are very pleasing and prove the highly sophisticated taste of Indian artists.

The Boar hunt from the same temple, is also an example of two-dimensional painting which almost becomes characteristic of late medieval paintings either on wall or on palm leaf or paper. Thereafter a decline of Indian wall paintings began. The art continued into 18th-19th century A.D. in a very limited scale. During the period from 11th century A.D. onward, a new method of expression in painting known as miniature on palm leaves and paper; perhaps much easier and more economical had already begun.

Some of the wall paintings of this declining period in the reign of Prince of Travancore in Kerala, in the palaces of Jaipur in Rajasthan and in the Rangmahal of the Chamba palace in Himachal Pradesh are worth mentioning. The Rangmahal paintings of Chamba deserve a special note in this connection as the National Museum is in possession of these early 19th century paintings in the original.

TECHNIQUE

It would be interesting and perhaps necessary to discuss the technique and process of making Indian wall paintings which has been discussed in a special chapter of the Vishnudharamotaram, a Sanskrit text of the 5th/6th century A.D. The process of these paintings appears to have been the same in all the early examples that have survived with an only exception in the Rajarajeshwara temple at Tanjore which is supposed to be done in a true fresco method over the surface of the rock.

Most of the colours were locally available. Brushes were made up from the hair of animals, such as goat, camel, mongoose, etc.

The ground was coated with an exceedingly thin layer of lime plaster over which paintings were drawn in water colours. In true fresco method the paintings are done when the surface wall is still wet so that the pigments go deep inside the wall surface. Whereas the other method of painting which was followed in most of the cases of Indian painting is known as tempora or fresco-­secco. It is a method of painting on the lime plastered surface which has been allowed to dry first and then drenched with fresh lime water. On the surface thus obtained the artist proceeded to sketch out his composition. This first sketch was drawn by an experienced hand and subsequently corrected in many places with a strong black or deep brown line when the final drawing was added. After the painter had drawn out his first scheme in red, he proceeded to apply on this a semi-transparent terraverte monochrome, through which his outline could be seen. Over this preliminary glaze the artist worked in his local colours. The principal colours in use were red ochre, vivid red (vermilion), yellow ochre, indigo blue, lapis lazuli, lamp black (Kajjal), chalk white, terraverte and green.