Occurrence of Attributes in Original Text
The text related to the cultural heritage 'Ajanta Caves' has mentioned 'Painting' in the following places:
| Occurrence Sentence | Text Source |
|---|---|
| Contents 1 History 1.1 Caves of the first (Satavahana) period 1.2 Caves of the later, or Vxc4x81kxc4x81xe1xb9xadaka, period 1.3 Re-discovery 2 Sites and monasteries 2.1 Sites 2.2 Monasteries 2.3 Worship halls 3 Paintings 4 Spink's chronology and cave history 4.1 Hindu and Buddhist sponsorship 5 Individual caves 5.1 Cave 1 5.2 Cave 2 5.3 Cave 3 5.4 Cave 4 5.5 Cave 5 5.6 Cave 6 5.7 Cave 7 5.8 Cave 8 5.9 Cave 9 5.10 Cave 10 5.11 Caves 11 5.12 Caves 12 5.13 Cave 13, 14, 15, 15A 5.14 Cave 16 5.15 Cave 17 5.16 Cave 18 5.17 Cave 19 (5th century CE) 5.18 Cave 20 5.19 Caves 21, 22, 23, 24 and 25 5.20 Cave 26 (5th century CE) 5.21 Caves 27, 28 and 29 5.22 Cave 30 5.23 Other infrastructure 5.24 Recent excavations 6 Copies of the paintings 7 Significance 7.1 Natives, society and culture in the arts at Ajanta 7.2 Foreigners in the paintings of Ajanta 8 Impact on later painting and other arts 9 See also 10 Notes 11 References 11.1 Bibliography 12 External links | WIKI |
| [48] He then vandalised the wall by scratching his name and the date over the painting of a bodhisattva. | WIKI |
| The sculpture artists likely worked at both excavating the rocks and making the intricate carvings of pillars, roof, and idols; further, the sculpture and painting work inside a cave were integrated parallel tasks. | WIKI |
| Top: Interior of Ajanta chaitya hall, Cave 26, photo by Robert Gill (c. 1868); Bottom: James Fergusson painting of Cave 19 worship hall. | WIKI |
| Four of the later caves have large and relatively well-preserved mural paintings which, states James Harle, "have come to represent Indian mural painting to the non-specialist",[88] and represent "the great glories not only of Gupta but of all Indian art". | WIKI |
| We know from literary sources that painting was widely practised and appreciated in the Gupta period. | WIKI |
| Unlike much Indian mural painting, compositions are not laid out in horizontal bands like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. | WIKI |
| The most intact painting in Cave 6: Buddha seated in dharma-chakra-mudra[146] Painting showing the Mahayana devotional worship to the Buddha[138][143] Buddha in the upper level, deer below and apsaras above (artificial lighting)[147][148] | WIKI |
| Cave 10, condition in 1839[172] The Buddha in long, heavy robe, a design derived from the art of Gandhara[173] Later painting with devotional figures, on pillars and ceiling Paintings of Buddhas and Bodhisattvas on the arches | WIKI |
| [114] Of these, the Padmapani, a couple gathered to pray, a pair of peafowl, and a female figure painting have survived in the best condition. | WIKI |
| Vessantara Jataka: the story of the generous king Vessantara[198] Shaddanta Jataka: six-tusked elephant giving away his tusks[198] Painting depicting "Darpana Sundari", a lady with a mirror[206] The Buddha in Cave 17 sanctum Musician with Alapini Vina (far left), next to Indra. | WIKI |
| The ceiling of the main hall has remnants of painting. | WIKI |
| [251] Gill worked on his painting at the site from 1844 to 1863. | WIKI |
| Copy of an Ajanta painting, in Musxc3xa9e Guimet, Paris. | WIKI |
| According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore. | WIKI |
| Some slightly creative copies of Ajanta frescos, especially the painting of the Adoration of the Buddha from the shrine antechamber of Cave 17, were commissioned by Thomas Holbein Hendley (1847xe2x80x931917) for the decoration of the walls of the hall of the Albert Hall Museum, Jaipur, India. | WIKI |
| Another attempt to make copies of the murals was made by the Japanese artist Arai Kampxc5x8d (xe8x8dx92xe4xbax95xe5xafx9bxe6x96xb9:1878xe2x80x931945) after being invited by Rabindranath Tagore to India to teach Japanese painting techniques. | WIKI |
| The Ajanta Caves painting are a significant source of socio-economic information in ancient India, particularly in relation to the interactions of India with foreign cultures at the time most of the paintings were made, in the 5th century CE. | WIKI |
| [281][284] These assumptions by colonial British era art historians, state Spink and other scholars, has been responsible for wrongly dating this painting to the 7th century, when in fact this reflects an incomplete Harisena-era painting of a Jataka tale (the Mahasudarsana jataka, in which the enthroned king is actually the Buddha in one of his previous lives as King) with the representation of trade between India and distant lands such as Sassanian near East that was common by the 5th century. | WIKI |
| In Cave 17, a painting of the Buddha descending from the Trayastrimsa Heaven shows he being attended by many foreigners. | WIKI |
| Many foreigners in this painting are thus shown as listeners to the Buddhist Dharma. | WIKI |
| Impact on later painting and other arts[edit] | WIKI |