The Early History of the Deccan (Parts I–XI) v2.c16.s2.36

v2.c16.s2.36

In the sixth century A.D. the Vākāṭakas were succeeded by the Chālukyas as rulers of the Deccan. The Chālukyas professed the Brāhmanic faith, but in the beginning they were not only tolerant to the votaries of the Buddhist religion but emulated them in the styles of their rock-hewn architecture and painting. The temples carved by them in the living rock at their capital Vātāpi, modern Bādāmi, exist to this day, and although they contain Śaivite and Vaiṣṇavite sculpture, yet their architectural style is in imitation of that of a Buddhist *vihāra*, and one of these cave-temples, cave No. 3, bears traces of painting which are analogous in style to those of Ajanta (Plate LII *a*). But a strict observer cannot help remarking that the paintings of Bādāmi, though not much later in date than those of caves I and XVII of Ajanta, show a distinct falling off in the standard; the elegance of the features, the vividness of expression, and the freshness of the colours have all appreciably deteriorated, and artistic fancy and creative effort are replaced by insipid conventionality and soulless imitation. The sixth-century paintings of Ajanta itself, as shown on the pillars, ceilings, and friezes of caves IX and X, comprise floral designs of a stereotyped pattern, or the representations of the Buddha in the teaching attitude, seated on a throne and attended by two *chauri*-bearers, one on each side. The latter figures convey religious dignity to a certain extent, yet by frequent repetition they become monotonous, and further, such themes betray a lack of freedom and narrowness of vision in artistic effort. The apparent reason why the artists abandoned the wider field of the *jātakas* which allowed full opportunity for the display of their powerful imaginations and superior technical skill, was that the ruling class and their officials professed a different religion and had therefore no interest in themes which reflected the glory of Buddhism; while such subjects as gods or kings seated on richly bedecked thrones and accompanied by princely attendants suited the idea of the majesty and grandeur of their own faith. Representations of this class are found in great abundance both in Buddhist and Hindu art from the latter part of the sixth century A.D. onwards, and notable imitations of them may be seen in the murals of Padmanābhapuram in Travancore State, which belong to the eighteenth century or even later.