Paintings of Gupta period | History Optional for UPSC PDF Download

Introduction

Literary Sources on Painting in Ancient Texts

• Ancient texts provide valuable insights into the practice and significance of painting during historical periods. For instance, the Kamasutra by Vatsayana mentions painting as one of the 64 art forms practiced widely during that time, indicating its prevalence among people, including the common folk.
• In the Brihatsamhita, a text on various subjects including art, the term ‘Vajralepa’ refers to the method of preparing the ground for murals, highlighting the technical aspects of mural painting. Similarly,Mudraksha discusses imaginative paintings, showcasing the creativity involved in this art form.
• Kalidasa’s Meghduta makes a reference to painting on rocks, illustrating the diverse surfaces used for painting during that era.
• The Vishnudharmottara, a supplement to the Vishnu Purana written around the 7th century CE, coinciding with the time when the last paintings at Ajanta were being created, provides a comprehensive account of the theory and practice of painting. It also refers to earlier works on the subject, indicating a rich tradition of artistic knowledge.
• During this period, there was a notable advancement in the depiction of depth in painting, with the introduction of three-dimensional concepts. This technique aimed to make figures appear as if they were standing out from the flat surface, demonstrating the evolving skill and understanding of artists in creating more realistic and engaging imagery.

Murals Paintings of Ajanta

The stunning sculptures at Ajanta are beautifully complemented by intricate murals found on the walls, ceilings, doorframes, and pillars of the caves. These murals are created using a technique known as fresco secco.
Technique of Painting:

• A thick layer of mud, mixed with vegetable material, was applied to the rock surface.
• Then, a thin coat of plaster was spread over this layer.
• Artists painted on this prepared surface using pigments mixed in a glue or gum medium.
• It is likely that the artists used brushes made from animal hair.

Colors Used:
The artists used and blended six colors:

• White, made from lime, kaolin, and gypsum.
• Red and yellow, derived from ochre.
• Black, made from soot.
• Green, from glauconite (a mineral).
• Blue, from lapis lazuli.

All these materials, except for lapis lazuli, were locally available near Ajanta.

Scenes Depicted:
The Ajanta frescoes depict a variety of scenes, including:

• Narrative scenes related to Buddhas, bodhisattvas, and Jatakas (stories about the Buddha's previous lives).
• Figures of yakshas, gandharvas, and apsaras.
• Scenes from everyday life in cities and villages.

The artists show a profound and empathetic understanding of nature in their representations of trees, flowers, and animals like elephants, monkeys, deer, and hares. There is also a rich variety of decorative patterns.

Artistic Techniques:

• The narrative paintings flow into each other without clear boundaries, creating a sense of continuity.
• Depth is not a concern in Ajanta paintings; instead, they come forward towards the viewer.
• The artists employed foreshortening and used a technique called 'multiple perspective,' where objects are depicted as seen simultaneously from different angles.
• There is a harmonious balance between material and spiritual elements in the paintings.
• Shading and highlighting are used skillfully to give parts of the compositions a glowing effect.
• Despite some stylistic differences, reflecting the various artists involved, the overall execution is striking.

Human Figures:

• The human figures in the paintings are slender, well-proportioned, and graceful.
• Women are depicted with narrow waists, full breasts, highly arched eyebrows, and elongated, lotiform eyes.
• The figures are adorned with a range of elaborate costumes, jewelry, and hairstyles.

Mural Painting in Bagh Caves

• Materialistic Expression: Reflected in the depiction of contemporary life.
• Lack of Spiritual Expression: The paintings do not convey a sense of spirituality.
• Human and Animal Life: Portrayed with a focus on realism.