CHENNAI: The philosophies of Buddhism, the painted canvas of Ajanta and the magnificence of the monolithic structures at Ellora have constantly inspired and teased the human mind. Art critic and historian Ashrafi Bhagat who will be delivering a lecture series on Buddhism and it’s philosophies through art, as part of Apparao Galleries outreach, walks us through the Jataka tales of Buddha at Ajanta and, talks about the awe inspiring rock cut caves at Ellora.
“Buddha never wanted a ‘religion’. He wanted the law or the ‘Dharma’ to be made as a religion. But the law was impersonal and nobody was able to interact with it. That’s how (and why) followers began to make forms of Buddha,” shares Ashrafi.In the earlier period, which was called the ‘Hinayana’, the representation of Buddha was through symbols. “In the later period, known as the ‘Mahayana’, Buddha was represented through full blown images and, the imagery and iconography of the Buddha slowly, yet, steadily spread,” she shares.
The patronage that Buddhism received from merchants and the monks, made its presence strong in Ajanta, which was in the cross roads of a trade route. “One can find two kinds of caves in the Ajanta — one is the Chaityas and the other is the Viharas,” she says. Chaityas are the prayer halls with the omnipresent stupas. “They symbolise the Buddha and that’s how the worship happens,” she explains. Vihara is a place for the monks to stay. “This is how the monastic orders helped in spreading the religion.”
Some of the earliest paintings about Buddhism in India are in Ajanta, and the subject matter is the life of Buddha or the Jataka tales. “There are about 551 Jataka tales that gives the entire story of Buddha in the previous life,” she explains. “The style of art is very advanced and the artists had the capacity to do three-dimensional modelling. They had a very good understanding of lights and shadows and knew how to use the 3-D effect.”
Organic colours made out of lamp black, lime chalk, yellow ochre and red ochre were used. “You cannot find the colour blue until 3rd century AD. After this phase, blue, obtained from a semi-precious stone was crushed, mixed and used to paint on walls. The painting technique used was known as dry fresco/fresco-secco,” she shares.
After a hiatus of three centuries, Ajanta became a place of prominence again in the 5th Century AD, during what’s known as the Vakataka period. “Harisena was the most important ruler who gave patronage to excavating more caves. But, unfortunately he died 25 years after he came to power. After that, the patronage subsided and Hinduism slowly came into existence,” she narrates.
While the art in Ajanta died and declined, the Ellora caves shined through. “There are 34 caves in Ellora that are Hindu, Buddhist and Jain, in nature. They are numbered accordingly,” she says.
Built during the reign of the Rashtrakuta king Krishna I in the 8th Century, these caves remain a marvel, till date. Recollecting her first visit to Ajanta and Ellora in 1978, she adds, “The first time I saw the paintings and the structures, I was dumbstruck. The Kailasanatha temple had architects and mathematicians working together and makes one wonder how the structure was chiseled!” she exclaims.
Ellora, my favourite!
Kailasanatha temple (cave 16), which is considered to be a fine example of the brilliance of the human mind, is Ashrafi’s favourite. The structures in the Ellora, apart from displaying brilliant skill and artistry, also reflect the religious tolerance that prevailed during the period, opines Ashrafi.
Ashrafi Bhagat will give a three-series lecture from October 10-12, from 9 pm to 10pm, at Apparao Galleries, Nungambakkam.
For details, call: 7358526183