Cave by Cave (Ajanta: History and Development) (v. 5) by Walter Spink

By Walter Spink

Quantity 5 includes, besides introductory reviews, "cave through cave" publications. one that, very in short, describes the nature of every cave and its patronage, is meant to be beneficial for the overall customer to the positioning. the opposite, very certain, discusses the location and peculiarities of every collapse relation to the final, yr by way of 12 months, improvement of the positioning. This quantity additionally encompasses a entire set of cave plans, and numerous illuminating charts, graphs, outlines, and maps.

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Extra info for Cave by Cave (Ajanta: History and Development) (v. 5)

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The solidly handsome pillars of its peristyle, carefully arranged in opposing or adjacent pairs, define an impressive space. As one enters, all of the visible faces of 7 Cell R1 was not fitted out until after 475, possibly because it had bad flaws in the ceiling, causing a delay in its completion. The two right court cells were clearly “afterthoughts”, probably cut in 477 when court cells were so popular throughout the site. 8 The manner in which the old projections, although by and large retained, were sometimes cut back is discussed in the chapter on door fittings in Volume VI (forthcoming); also Volume I, pp.

11 The ready ease with which a painter’s skills could be transferred from the painting of walls and ceilings of structural buildings to the painting of the caves modeled closely upon those buildings explains why from the very start the murals and ceilings of the Vakataka phase are fully sophisticated and up-to-date in every way. On the other hand it took a number of years for the Vakataka excavators (as opposed to the painters), who were used to working on structural projects in the great cities where Ajanta’s patrons lived, to overcome their initial confusion and diffidence when confronted with the recalcitrant stone; for although they would have been skilled 10 See Goloubev 1927 for a suggestive but arguable interpretation of the iconography of the ceiling of Cave 1 as a yaksa paradise.

Cave 1’s porch paintings, long since gone, were destroyed in large part by the combined action of the elements, animals, vandals and accumulating debris, but we can assume that two great bodhisattvas, like those still found (in fragmentary form) in the porches of Caves 2, 11, and 17 once guarded the porch doorway. Sufficient fragments remain to make it clear that, just as we would expect, the whole porch—ceilings, walls, and pillars, windows and doorways—had all been painted in due course (probably by 470) as work on the cave continued.

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