Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v3.c12.8

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In the fifth century A.D. the art of Ajanta attained to a still higher level, and the frescoes of Caves XVI and XVII, both of which, according to the inscriptions carved on them, belong to the fifth century A.D.,⁵ display not only superior intellectual qualities in the conception of themes, but also more refined taste and more perfect technique in the beauty of design, balance of poise, and blending of colours. For example, the scene from the Conversion of Nanda, popularly known as the Dying Princess, on the left wall of Cave XVI (Plate LII),¹ or Indra with his troupe of musicians in the veranda of Cave XVII (Plate LXVII), or the group of heavenly votaries saluting the Lord Buddha in the same veranda (Plates LXXI–LXXII), may, in regard to vividness of expression, or grace of form, or charm of decorative detail, or soft effect of colours, be compared with advantage with the best specimens of Italian art of the fourteenth and fifteenth centuries.