The Early History of the Deccan (Parts I–XI) v2.c16.s2.35

v2.c16.s2.35

Some critics have complained of the lack of perspective in the paintings of Ajanta. This may be true to a certain extent of the earlier frescoes, but in the fifth century A.D. the painter understood how to convey the idea of depth or distance in his work. In the *Abhisheka* scene, painted in the back corridor of cave I, the drawing of the pillared hall shows that the artist was by then familiar with perspective since he has admirably conveyed the idea of distance in the drawing of the pillars. Similarly, on the right wall of cave XVI, in the birth-scene of the Buddha, wherein Māyā is shown lying on a couch in a circular pavilion, the drawing of the pavilion is perfect (Plate LI *b*), and it is apparent that one who did not possess a sense of perspective could not have drawn a circular object so accurately. But it is not for such petty distinctions that the art of Ajanta of the fifth century A.D. is to be admired. The skill of the painter should on the other hand be appreciated in the charming sweeps of the brush line, comprising subtle curves and undulations; in the lovely contrasts of colours, whether bright or dark, all suggesting a refined taste; in the large variety of poses showing the keen observation of the artist and his delight in the manifold phases of life; in the vivid expressions of the human figures, and in the exquisite decorative work, such as is to be seen in the lovely coiffures of the ladies, or the beautiful designs of their jewellery and dress; or in the fascinating representations of flowers, birds, and animals, real or mythological. The grouping of figures may appear bewildering to one unacquainted with Indian life, but each figure or design has its own significance in the telling of the story, and if any one of them were omitted the story would lose its zest.