The Early History of the Deccan (Parts I–XI) v2.c16.s2.49

v2.c16.s2.49

The standards of beauty of the human body do not of course coincide with those of Europe in the classical period, but the drawing of the Ajanta figures is not less effective than that of their European prototypes in regard to feminine grace of form and charm of pose, or masculine vigour and strength, activity and effort. In vividness of expression generally, and in religious feeling in particular, the paintings of Ajanta far excel their contemporaneous rivals in Europe. Such technical details as ‘cast shadows’ are rarely to be seen at Ajanta, but in the ceiling of cave II the cherubs, plump, rosy gaṇas, at the four corners, have their necks below the chin painted in vermilion of a dark shade which contrasts with the fair complexion of their faces to give rounded effect.¹