Paintings Of Ajanta #2 - Architectural and Building Elements

When I looked at the Ajanta paintings closely, 2 things struck the architect in me immediately.

 -  The Panels exhibit a scale, extent and canvas which is unique in the seamless way in which the various scenes within are delineated.

-  It almost appears random at first. Scenes do not follow any order of location and their distribution seems arbitrary.

-  On closer scrutiny, I realised, Architectural/ Building elements are used repeatedly to create transition points and boundaries within a large canvas. And then it does not appear random at all.

-  Scenes are grouped geographically or spatially and the elements are used as markers of identification along with nature, animals and people

Sutasomajataka - Cave 17 - Gopu

Sutasomajataka - Cave 17 - Schlingloff

This highly complicated panel, acquires its entire logical division and order (and hence the story telling) through the Architectural elements used with great thought.

The windows, Balconies, Pavilions, Palace Gates and other elements help in 

-  Positioning and Grouping Scenes.

-  Identifying a space, an activity and sequentially connecting it.

-  Seamlessly integrating scenes across the canvas, yet giving each scene its own identity.

-  Creating invisible boundaries for each scene - making it a complete expression of art on its own.

This is something so unique and unbelievable in Ajanta art. We are always trying to do this in Architecture. Spatial identity and interconnection through conscious use of specific elements. To see the same followed in art, almost 1500 years back, is truly magical.

A couple of more examples.

Sharabajataka - Cave 17 - Gopu

Matriposhakajataka - Cave 17 - Gopu

The usage of Architectural elements, in Ajanta, is almost similar to how they are used in real buildings in modern times. These elements have been variedly used to

-  Indicate depth and background spaces.
-  Show a sequence of spaces with different activities.
-  Create a facade or a backdrop to some activity in the front.
-  Spatial delineation between indoor/outdoor, 2 geographic locations or 2 different scenes of activity.

-  Represent a social order and its cultural milieu, in short - an entire way of life.

Perhaps these elements are indicative of the type of buildings that existed then and the kind of architecture that was followed.

The Architectural Elements in Ajanta paintings include

Plain Window on a back wall...
This element has been used almost identically in 3 paintings, but serving a different purpose & conveying a different emotion each time.

Viswantharajataka Cave 17 Verandah - Benoy Behl

Line Drawing of above - Schlingloff

Here the window is strategically positioned between the 2 scenes - of Viswantara telling Madri about his banishment from the kingdom (Indoor scene on the right) and the Prince and Madri leaving the palace with the attendants (Outdoor scene on the left).

The wall with the window helps to convey

-  The Palace and its leaving behind - a transitional device

-  Depth and reduced light of Interiors (with the people shown in Grey monochrome), indicating a large palace behind the facade.

- The mood of the people all across - somber, serious and concerned.

Simhalavadhanajataka - Cave 17 - Me and Madanjeet Singh-

This scene is one, where the dead King's representatives come to request Simhala to take over the throne.

- Here the window is used as a device to represent the outside world, where this news spreads like wild fire.

- Representing the general public on the outside, colour is used inside the window (unlike the monochrome earlier).

Sutasomajataka - Cave 17 - Me

This is the scene, where Saudasa is eating human meat and enjoying it.

- The window is the device through which (once again), people come to know about it.

- The light colour inside the window represents the Exteriors/ outside world.

- That people come to know and are then horrified is represented by showing one person, totally dark in colour.

Balconies...

This element is used across numerous paintings to indicate

• Levels and floors in buildings where simultaneous activities are taking place.
• When people are in a dilemma, they have been depicted in a balcony - which is an in between space (between outdoors and indoors)
• Streets where they act as backdrops with people in them.
• Courtyards and other scenes where onlookers are shown from balconies.

Unlike the windows, the balconies are not plain. The decorated pillars and railings and other ornamentations are similar to those found in old Indian buildings across most of North India.

Simultaneous Activities in 2 floors

Vidurapandita Jataka - Cave 2Schlingloff and me and Nalagiri - Cave 17 - Me

People in a dilemma are shown in a balcony (a sort of indoor/outdoor space)

Viswantarajataka - Cave 17, Conversion of Nanda - Cave 16, Simhalavadhanajataka - Cave 17 - Me

 Madri in 2 minds, after being banished from the palace, Nanda in 2 minds after his head has been shaved off, The ogress beseeching the sailors not to leave are all shown in Balconies.

Balconies on the first floor of buildings help to create a streetscape

Viswantarajataka & Sutasomajataka - Cave 17 - Schlingloff and me.

Onlookers are often portrayed in balconies (as part of an overall scene)

Vidhurapanditajataka - Cave 2, Renunciation of Nanda - Cave16, Sibijataka - Cave 1 - Me

Pavilions...

Unlike other elements, there is tremendous variety shown in the depiction of Pavilions. They are almost omnipresent in Ajanta art.

With a sloped or a flat roof, single or 2 stories, with a straight forward perspective, reverse perspective or distortion & fore shortening, the Pavilion is the 2nd element where Ajanta artists have shown their full creativity (next only to women).

Shown as isolated structures or as a series of connected spaces, Pavilions are used to 

-  Depict a certain a focal scene, with a 4th wall broken.
-  To identify a specific space in a large scenescape.
-  As backdrops in a palace courtyard or street.

Sloped Roof Pavilions made of bamboo & wood

Simhalavadhana Jataka & Sibijataka - Cave 1 - Me

Simple Pavilions highlighting a specific activity (Breaking the 4th wall)

Sutasomajataka - Cave 17 & Vidurapanditajataka - Cave 2 - Me

   Series of Pavilions to show simultaneous Activities

Simhalavadhanajataka - Cave 17 - A no of sailors are being seduced by the Ogresses - Me

Series of Pavilions to show sequential Activities

Lustration and Renunciation - Cave 1 - Activities in a sequence - Benoy Behl and Schlingloff

Focal Activity highlighted by a Pavilion

Vidhurapanditajataka - Cave 2 - Vidhurapandita preaching to Naga King, his wife and Poorna
Renunciation of Nanda - Cave 2 - Nanda in extreme grief, regretting his decision - Me

Certain Unique Pavilions

Mahajanakajataka - Cave 1 - As a backdrop for the Dancer and Musicians - Me.
Life of Buddha (Bhagavan) - Cave 16 - Buddha deciding to marry Yasoda- Schlingloff and me.

Palace Gates...

This element is repeated multiple times across most paintings, mostly in a singular context. signifying TRANSITION 

-  from the palace to outside.

-  from a life of comfort to one of renunciation

-  A character leaving or entering the palace.

In Architectural language too, a certain uniformity is maintained making it easy to identify a gate.

A typical Palace Gate (almost identical in look and proportions)

Sutasomajataka and Simhalavadhanajataka - cave 17 - me and Schlingloff

To show exiting of the palace (from a life of comfort to one of austerity) -  

Transition point of Bodhisattva's self realisation.

Mahajanakajataka - cave 1 and Viswanatarajataka - Cave 17 Verandah
Both are leaving the palace and their life of luxury behind - Me

A series of gates establish an entire urbanscape

The Stupa - Cave 9 - Madanjeet Singh

A series of Gates establish the movement between the Island of Ogresses and Simhala's land

Simhalavadanajataka - Cave 17 - Schlingloff

Streetscape...

Entire streets complete with an architectural backdrop to a focal activity in the forefront are portrayed in 3-4 paintings. (Difficult to capture, photographically), The streets have abutting buildings of 2 floors with people looking out. Buildings act as a continuous facade to contain the scene.

The lion walks across the main street, with a baby on her back, to deliver him to the king.

While the scale of the lion is severely compromised, the buildings at the back with people and the palace gate at one end - convey the urbanscape and its spatial quality beautifully.

Sutasomajataka - cave 17 - Me

As the elephant charges towards Buddha in Nalagiri, again the buildings act as a backdrop to the street and actions and expressions of people in these buildings convey anxiety, curiosity, fear and reverence in the end. I was neither able to click, nor get a full canvas here (from any book or the net).

Nalagiri - Cave 17 - Schlingloff and Benoy Behl

Another interesting streetscape from the story of Purna

Purna - Cave 16 - Schlingloff

An interesting sequence of buildings and gates establishing Buddhas travel in his path to attainment

Life of Buddha (Bhagavan) - Cave 16 - Schlingloff

The above is all, that, I could observe and assimilate about Architectural & Building elements in the 2 days we spent there. I am sure there must be lots and lots of hidden gems there - either destroyed over time or unobserved by my untrained eyes.

As an architect, I was so fascinated to discover all the above elements and their contextual incorporation by the Ajanta artists, that truly, words can't describe my feelings.

Not only was Architecture integral to life then, it blended seamlessly into their art.

I, personally, have not seen, any other body of work, where buildings and their elements have been used so effectively to communicate a social milieu, a way of life, a culture and its history.

This reinforces my belief that ever since man learnt to build, buildings are inseparable from our lives.

I feel, a visit to Ajanta and its paintings is a must for every Architect to help reinforce, the core values of our profession and reiterate the fact that Architecture is integral and not at all cosmetic to any society or its culture. To think, this was recognised and documented in India almost 1500 years back, is truly amazing.