Search results
Results from the WOW.Com Content Network
[276] [277] The 19th-century views and interpretations of the Ajanta Caves were conditioned by ideas and assumptions in the colonial mind, saw what they wanted to see. [278] [277] [279] To many who are unaware of the premises of Indian religions in general, and Buddhism in particular, the significance of Ajanta Caves has been like the rest of ...
The history of cave paintings in India or rock art range from drawings and paintings from prehistoric times, beginning in the caves of Central India, typified by those at the Bhimbetka rock shelters from around 10,000 BP, to elaborate frescoes at sites such as the rock-cut artificial caves at Ajanta and Ellora, extending as late as 6th–10th century CE.
In India, caves have long been regarded as sacred places. Caves that were enlarged or entirely man-made were believed to be as sacred as natural caves. The sanctuary in all Indian religious structures, even free-standing ones, was designed to have the same cave-like feeling, as it is generally small and dark, without natural light. [5]
Excavations instead made into the side of a cliff or steep slope can feature an impressive facade, as in Lycian tombs, Petra, and the Ajanta Caves. The most laborious and imposing rock-cut architecture is the excavation of tall free-standing monolithic structures entirely below the surface level of the surrounding rock, in a large excavated ...
The decorative paintings in the ceiling of the sanctum and ardha-mandapam of Aravirkovil though compared to the classical cave painting styles used in the Ajanta Caves but have minor variations in use of the materials for creating the paintings and also reported to provide a link between the Ajanta paintings (4th–6th century AD) and the Chola ...
The Kailasa temple (Cave 16) is the largest of the 34 Hindu, Buddhist, and Jain cave temples and monasteries known collectively as the Ellora Caves, ranging for over two kilometres (1.2 mi) along the sloping basalt cliff at the site. [5]
In India, caves have been regarded as places of sanctity. Caves that were enlarged or entirely man-made were felt to hold the same sanctity as natural caves. In fact, the sanctuary in all Indian religious structures, even free-standing ones, retains the same cave-like feeling of sacredness, being small and dark without natural light. [4]
Structure:- Ahemdabad Ni Gufa is an underground art gallery in Ahemdabad. It exhibits the work of the famous artist Maqbool Fida Hussain. The gallery represents a unique juxtaposition of architecture and art. The cave-like underground structure has a roof made of multiple interconnected domes, covered with a mosaic of tiles.