DOI Page / Citation link:
https://doi.org/10.11588/diglit.2371#0357
LATEST CAVES AT AJANTA. 335
seems to be superior to that in Cave No. I., but the architectural
ornaments are certainly inferior both in the design and execution.
A good deal of the painting still remains in this cave. In the
verandah, so much of the beautifully decorated ceiling is left that
the pattern can be completely made out. When entire it must have
been remarkably beautiful both in colour and design. The few
fragments that remain on the wall indicate that it also was of a
very high order as regards design, drawing, and colour.
Inside, the ceilings of the great hall and aisles, the antechamber,
>liiine, and chapels are all admirably designed, and though (espe-
cially in the hall) blackened with smoke,1 they contain many striking
examples of floral decorations, Naga and flying figures, and others
with human and animal heads, but the lower extremities ending in
scroll work.
It is the only cave that retains any fragments of painting in the
shrine, the ceiling being especially fine. " On entering the sanctuary
with a light," says Mr. Griffiths, "the effect produced is one of
extreme richness, the floating figures in the spandrils standing out
wth startling effect. These figures are bringing their gifts of
flowers to present to the gigantic Buddha below. The wreath of
flowers is admirably painted, and the band of black and white with
its varied simple ornament is a most happy idea, giving additional
™ne to the rest of the design. The eye would have been satiated
"J the amount of colour were it not for the relief it derived from the
imposition of this band."
The painting in the two chapels is of a yellower tone than most
' the other wall paintings, and is filled with standing figures,
many of them females, some with aureoles round their heads,
aBd is possibly of later elate than the rest, probably of the
seventh century. On the right wall of the hall is one of the most
interesting groups of pictures now left, of which it is to be regretted
is to be regretted that some precautions have not long ago been taken for
vmg these interesting relics, for the bats have recently attacked the ceilings and
„ .„ S<fn nia them unless shut out. " What would be the effect," says Mr. Griffiths,
ceiH* *Z hundred of tbem were allowed to flutter over Michael Angelo's fresco on the
in th r Sisline Chape], or among the paintings of the greatest of the Venetians
have b era di Collegi° in the Ducal Palace ? . .. I am fully convinced that they
Ilf. , ? °ne °^tne principal agents in hastening the destruction of the paintings."—
HeW, 1872-73, p. 11.
seems to be superior to that in Cave No. I., but the architectural
ornaments are certainly inferior both in the design and execution.
A good deal of the painting still remains in this cave. In the
verandah, so much of the beautifully decorated ceiling is left that
the pattern can be completely made out. When entire it must have
been remarkably beautiful both in colour and design. The few
fragments that remain on the wall indicate that it also was of a
very high order as regards design, drawing, and colour.
Inside, the ceilings of the great hall and aisles, the antechamber,
>liiine, and chapels are all admirably designed, and though (espe-
cially in the hall) blackened with smoke,1 they contain many striking
examples of floral decorations, Naga and flying figures, and others
with human and animal heads, but the lower extremities ending in
scroll work.
It is the only cave that retains any fragments of painting in the
shrine, the ceiling being especially fine. " On entering the sanctuary
with a light," says Mr. Griffiths, "the effect produced is one of
extreme richness, the floating figures in the spandrils standing out
wth startling effect. These figures are bringing their gifts of
flowers to present to the gigantic Buddha below. The wreath of
flowers is admirably painted, and the band of black and white with
its varied simple ornament is a most happy idea, giving additional
™ne to the rest of the design. The eye would have been satiated
"J the amount of colour were it not for the relief it derived from the
imposition of this band."
The painting in the two chapels is of a yellower tone than most
' the other wall paintings, and is filled with standing figures,
many of them females, some with aureoles round their heads,
aBd is possibly of later elate than the rest, probably of the
seventh century. On the right wall of the hall is one of the most
interesting groups of pictures now left, of which it is to be regretted
is to be regretted that some precautions have not long ago been taken for
vmg these interesting relics, for the bats have recently attacked the ceilings and
„ .„ S<fn nia them unless shut out. " What would be the effect," says Mr. Griffiths,
ceiH* *Z hundred of tbem were allowed to flutter over Michael Angelo's fresco on the
in th r Sisline Chape], or among the paintings of the greatest of the Venetians
have b era di Collegi° in the Ducal Palace ? . .. I am fully convinced that they
Ilf. , ? °ne °^tne principal agents in hastening the destruction of the paintings."—
HeW, 1872-73, p. 11.