Indian Architecture (Buddhist and Hindu Periods) c19.23

c19.23

In these later examples of chaitya hall and in fact in the Mahayana rock-architecture as a whole, not only the wooden construction itself is discarded, but much of its imitative character has been eliminated. It is true a timber framework with its curved transoms is retained in the opening of the chaitya window, and the ribs of the vaulted roof have every appearance of woodwork, but, except for these, the wooden attribution has lost its previous emphasis. The workmen employed in such productions were now realizing the differences in the material they were handling, and were becoming increasingly aware of the fact that each medium demanded a different technique. Instead, therefore, of copies in the rock of slender wooden beams and carpenters’ joinery as in the Hinayana examples, advantage was taken of the solid rock to effect an appearance of mass, weight, and volume, carving being freely distributed to enrich and lighten the whole. The later halls thus present a definite style of architecture, more flexible, sophisticated, and plastically ornate, than any which had hitherto prevailed. Much of this was brought about by the cultural sublimation which had developed in the consciousness of the people themselves, whose experience had now become more matured, they were no longer mere imitators but had acquired a reasoned aesthetic sense. The Ajanta Mahayana rock-cut monasteries display evidences of a growing appreciation of architectural values, and mark a distinct advance in the art evolution of the country.