Ajanta caves are well known for their creativeness and artistic excellence. Nowhere else at one place is shown such a grand display of the three disciplines architecture, sculpture and painting in a highly mature and technically perfect state. In the realm of painting, they are unique. A single painting of Ajanta can communicate better than a thousand words. The paintings are a simple, visual representation of Buddhist ideals and sentiments. It has enthralled every art critic and set him to a desperate search for words in which to convey his impressions. The period from 2nd century bc to the 4th century ad saw vigorous spread of influence of Buddhist faith in India. The arts of painting and sculpture were inspired and governed by common ideals of religion and culture of that time. The rich repertoire of the carved figures on railings, pillars, panels and cross-bars listed in texts are almost the same as on sculptures and cave temples of that time. God is perfection, and whoever strives for perfection is striving for something divine. This has been displayed in Ajanta paintings. Ajanta came in with a new mode of art forms when new religious systems had grown up. Artists amalgamated all styles they had inherited from generations and produced paintings that were in the exclusive Ajanta style. The guilds had centuries of experience behind them. As hereditary skills die hard in Indian artisan families, there is the undercurrent of continuity in the basic style of Ajanta art though some variations are perceived in details. These have been illustrated in the about 1300 odd line drawings presented in the book. The volume has been divided into eight chapters on architecture, sculpture, paintings, decorative paintings on ceilings, symbols and motifs and an analytical treatment of motifs. There is also a full treatment of the numerous Jataka tales, visuals of which are present in the paintings. This book is an attempt to put into one volume, as much as possible, everything about the art of Ajanta. This has been achieved by studies in libraries, a stay at the location itself and many discussions with experts on the subject.

The Timeless Art of Ajanta, Sudha Satyawadi, Aryabooks, Hardcover, 2014, 334 Pages, $120.00

Dr. Sudha Satyawadi is an artist and researcher working for the last thirty years on ancient Indian art forms. Arts motifs and symbols are her special interests. She is preparing a compendium of ancient art motifs: their origin and evolution and transfer of art forms from folk to classical art. In the last ten years, exhibitions of her paintings have been held and lectures delivered on rural and folk art at New Delhi, Melbourne, Gaborone, Columbus, Universities of Stanford, Berkeley, Louisiana, Buffalo, Pittsburgh and Lucknow. Dr. Satyawadi is placed on files of Division of Arts, UNESCO, Paris, as a specialist of intangible cultural heritage. She heads an NGO called Udayan Public Empowerment Trust created for encouraging the rural artists who work deep inside a village. She spends much time with them and is trying to preserve the dying arts. She has authored two books and published a number of articles on Indian art.

Preface vii Acknowledgements x Description of the Plates xv 1. Introduction 1 History 1 Religion 3 Description of Caves 3 2. Architecture in Ajanta 27 Early Buddhist Cave Art 27 Cave Architecture at Ajanta 27 Ajanta Paintings and Ancient Architecture of Palaces in Literature 30 3. Sculpture 43 Yaksha 44 Faade 46 Shrine 49 Motifs on Shrine 52 Chapels 54 Doorjambs 54 Description of Doorjambs 55 Motifs 61 Parallel Motifs in Other Sites 64 Doorjamb Motifs, Lintel Motifs 66 Pillars 71 4. Paintings 88 Technique 89 Artist 90 Composition 90 Subjects 91 The Life of the Buddha 91 The Buddha?s Life in Paintings 92 Liberation of Nanda 103 Mother and Child 107 Temptation and Assault of Mara 108 Subjugation of Rogue Elephant 109 Miracle of Sravasti 110 The Buddha Preaching 113 Yaksha Kings 117 5. Jataka stories 120 Champeya Jataka 120 Hansa Jataka 123 Hasti Jataka 126 Kalyankarins Adventures 128 Kapi Jataka 132 Mahajanaka Jataka 134 Mriga Jataka 137 Shankhapala Jataka 141 Syama Jataka 143 Chaddanta Jataka 147 Sibi Jataka 153 Simhala Jataka 156 Sutasoma Jataka 163 Vidhura Pandita Jataka 168 Vessantara Jataka 175 6. Ceiling in ajanta Caves 182 Introduction 182 Ceiling Plan 183 Circle or Umbrella Design 192 Lotus at the Centre 195 Bands 195 Lotus Creeper 196 Geese 196 Jewellery Design 196 Rosette Pattern 197 Scroll 197 Corner Design 197 Rectangle Panel 200 Medallions and Ornamental Panel 204 Square 205 Lotus 205 Flower 207 Human Figure 210 Animal 212 Bird 213 Fruit 214 Square (large) 214 Long Panel 214 Small White Band 219 Painted Pillars in Ajanta 222 Symbol 226 Decorative Design 228 7. Symbols and motifs 231 The Buddha 231 Bodhisattva 236 Lotus 242 Lotus in Ajanta 245 Naga 251 Naga in Ajanta 254 Yaksha 257 Yaksha in Ajanta 261 Yakshi/Salabhanjika 265 Celestial Being 267 Celestial Beings in Ajanta 273 Flying Figures 273 Ganas/Dwarfs 274 Kinnaras 277 Apsaras 278 Vidyadharas 278 Yakshas 279 Animals and Birds in Ajanta 281 Symbols in Ajanta 288 8. CONCLUSION 294 Scholars? Views 294 Fergusson and Burgess 295 Lady Herringham 295 Griffiths 295 Yazdani 295 Binyon 295 Stella Kramrisch 295 Walter Spink 296 Art in Ancient India 296 Development of Art Motifs and Designs in Ajanta and Other Contemporary Sites 297 Evolution of Motifs 298 Cave Architecture 299 Early Chaitya Cave Plans 299 Early Viharas 299 Fa?ade 301 Doorways 302 Pillars 302 The Buddha 306 Yaksha 307 Bodhisattvas 310 Nagas 311 Yaksha Couple 311 Flying Figures 312 Yakshi 312 Animals 313 Horse-faced Yakshi 315 Vyala 315 Lotus 316 Creepers 316 Acanthus Motifs 317 Kirtimukha 317 Hansa 318 Vikrit 319 Decorative Motifs 320 Winding up 320 Glossary 323 Bibliography 327 Index 335