Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v1.c4.11

v1.c4.11

Contemplating the frescoes (he says), one has at first the impression that the numerous figures represented in them are arranged—or piled up rather, so great is their number in proportion to the space—without preparatory thought or any preconceived plan, in a manner so natural that it appears almost accidental. A closer study soon reveals the learned design which controls their grouping. In their anxiety to present a picture full of natural effect, the artists of Ajanta take care to avoid all methods of composing where the governing idea is too obvious, such as those which exhibit the primitive device of a strongly marked symmetry or else immobilize the design by depriving it of movement and life. All their compositions are, on the contrary, based on complex arrangements, where the variety of the attitudes and of the groupings appears inexhaustible. But this abundance of forms is far from producing chaotic design, opposed to all idea of unity; used with art, it helps to create well-planned compositions, the unity of which is not impaired by the fact that it is made up of heterogeneous elements.