duminică, 20 mai 2012
Ajanta Caves, Maharashtra, India. Ajanta Caves – UNESCO World Heritage Centre. Secrete ingropate, demult uitate. Temple si locuinte rupestre ale culturii si civilizatiei megalitice mondiale.
The first Buddhist cave monuments at Ajanta date from the 2nd and 1st centuries B.C. During the Gupta period (5th and 6th centuries A.D.), many more richly decorated caves were added to the original group. The paintings and sculptures of Ajanta, considered masterpieces of Buddhist religious art, have had a considerable artistic influence.
Seven Waterfalls - Ajanta Caves
A picturesque waterfall near Ajanta caves that is broken into 7 separate sections
Ajanta Caves - From View Point. Panoramic view of Ajanta Caves from the View Point across the other side of the mountain.
India. Ajanta Caves Maharashtra. Ajanta Valley , Ajanta Caves
The style of Ajanta has exerted a considerable influence in India and elsewhere, extending, in particular, to Java. With its two groups of monuments corresponding to two important moments in Indian history, the Ajanta cave ensemble bears exceptional testimony to the evolution of Indian art, as well as to the determining role of the Buddhist community, intellectual and religious foyers, schools and reception centres in the India of the Gupta and their immediate successors.
View of Ajanta Caves from the other side of the river.
The caves are situated 100 km north-east of Ellora, 104 km from Aurangabad and 52 km from Jalgaon Railway Station. They are cut into the volcanic lava of the Deccan in the forest ravines of the Sahyadri Hills and are set in beautiful sylvan surroundings. These magnificent caves containing carvings that depict the life of Buddha, and their carvings and sculptures are considered to be the beginning of classical Indian art.
The 29 caves were excavated beginning around 200 BC, but they were abandoned in AD 650 in favour of Ellora. Five of the caves were temples and 24 were monasteries, thought to have been occupied by some 200 monks and artisans. The Ajanta Caves were gradually forgotten until their 'rediscovery' by a British tiger-hunting party in 1819.
The Ajanta site comprises thirty caves cut into the side of a cliff which rises above a meander in the Waghora River. Today the caves are reached by a road which runs along a terrace mid-way up the cliff, but each cave was once linked by a stairway to the edge of the water. This is a Buddhist community, comprising five sanctuaries or Chaitya-grihas (caves 9, 10, 19, 26 and 29) and monastic complex sangharamas or viharas.
A first group of caves was created in the 2nd century BC: the chaitya-grihas open into the rock wall by doorways surmounted by a horse-shoe shaped bay. The ground plan is a basilical one: piers separate the principal nave from the side aisles which join in the apsis to permit the ritual circumambulation behind the (commemorative monument). This rupestral architecture scrupulously reproduces the forms and elements visible in wooden constructions.
A second group of caves was created at a later date, the 5th and 6th centuries AD, during the Gupta and post-Gupta periods. These caves were excavated during the supremacy of the Vakatakas and Guptas. According to inscriptions, Varahadeva, the minister of the Vakataka king, Harishena (c. AD 475-500), dedicated Cave 16 to the Buddhist sangha while Cave 17 was the gift of the prince, a feudatory. An inscription records that the Buddha image in Cave 4 was the gift of some Abhayanandi who hailed from Mathura.
The earlier architectural formulas were re-employed but treated in an infinitely richer and more ample manner. The decoration attained, at this time, an unequalled splendour: the statuary is numerous (it was already permissible to represent Buddha as a human; these representations are found both on the facades and in the interior). Finally, the wall painting, profuse and sensitive, constitutes, no doubt, the most striking artistic achievement of Ajanta.
Under the impulse of the Gupta dynasty, Indian art in effect reached its apogee. The Ajanta Caves are generally decorated with painted or sculpted figures of supple form and classic balance with which the name of the dynasty has remained synonymous. The refined lightness of the decoration, the balance of the compositions, the marvellous beauty of the feminine figures place the paintings of Ajanta among the major achievements of the Gupta and post-Gupta style and confer on them the ranking of a masterpiece of universal pictorial art.
In fata atator si atator inimaginabile realizari, in duritatea stancilor bazaltice,
iti piere graiul, cuvintele isi golesc continutul.
De retinut ca nu exista
metoda stiintifica, de datare a pietrei, lucrarilor in piatra.
De aici pornind,
ratiunea mea inceteaza, iar de imaginatie nu duc lipsa!
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India&Romania. Inteligenta unora vs Tembelismul altora. "Express Maharajas" vs "Trenul regal","Trenul lui Ceausescu"&"Frunzele Elenei Udrea"
Publicat de Admin, Romania Megalitica la 05:23
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