The Bagh Caves, a stunning testament to the fusion of art and contemplation, form a cluster of nine rock-cut structures nestled on the southern inclines of the Vindhyas near Bagh, Dhar district, Madhya Pradesh, India. Contrary to the term "cave," these are exquisite examples of Indian rock-cut architecture, crafted with precision by master artists during the 6th century A.D. The captivating mural paintings within these caverns rank among the most remarkable achievements of prehistoric artistic expression. Only five of the original nine caves have endured the passage of time, Rediscovered in 1818 by the scholar Danger Field, the Bagh Caves emerged from the shadows of time, revealing their intricate artistry.
Development and Discovery
· Mythological Attribution: According to mythology, Buddhist monk Dataka is credited with constructing these caves, realized between the late 4th and early 6th centuries AD.
· Discovery: Unveiled in 1818, the Bagh Caves, akin to the Ajanta Caves, grace the perpendicular sandstone rock face on the far bank of the Baghani River.
· Confirmation of Date: In 1929, a copper plate of Maharaj Subandhu found in the second cave precisely dated these caves to the 5th century.
· Architectural Layout
· Surviving Caves: Of the original nine, only five have stood the test of time, all designed as 'viharas' (monks' resting places) following a quadrangular layout, with a 'chaitya' (prayer hall) often located toward the rear.
· Significant Cave - Cave 4: Cave 4, known as Rang Mahal (Palace of Colors), stands out as the most significant among the extant caves.
· Mural Paintings
· Technique: The exquisite mural paintings are a testament to the tempera technique, employing a permanent fast-drying medium of colored pigments mixed with a water-soluble binder.
· Mud Plaster Base: The walls and ceilings were initially coated with a reddish-brown, grainy mud plaster, over which lime-priming was applied before the application of paints.
· Tempera in Viharas: The Viharas of Bagh, especially in Caves 3 and 4, showcase the use of tempera, with remnants observable in Caves 2, 5, and 7.
· Cave 2 - 'Pandava Cave': Cave 2, colloquially known as the "Pandava Cave," is celebrated for its remarkable preservation.
· Cave Specifics
· Noteworthy Caves:
o First Cave ('Griha Cave'): Spans an area of 2314 square feet.
o Second Cave ('Gusai' or 'Panch-Pandavas'): Known for its association with the five Pandava brothers.
o Third Cave ('Hathi Khana'):
o Fourth Cave ('Rangmahal'): The most significant with vibrant murals.
o Fifth Cave ('Pathshala'): Pictures related to music adorn this cave.
· 'State Procession' Depiction: Cave No. 4 features a captivating 'State Procession' scene, the sixth in a series of six scenes adorning the outer wall.
- Ground and Adhesive Substances:
- The ground for Bagh paintings is brick-red, obtained from a nearby hill.
- Unlike European frescoes, Indian paintings use gum or mucilage from trees (Bel and Neem) and tamarind seed as adhesive substances.
- Colors and Composition:
- Bagh paintings use various colors like yellow ochre, chalk, red ochre, terraverte, black earth, and sapphires.
- Traces of lac-dye are found in Bagh paintings.
- The composition involves a close combination of different objects and is considered attractive.
- Dance scenes are depicted with the inclination of heads of dancing girls.
- Decay and Remaining Frescoes:
- Two out of nine caves in Bagh have decayed over time.
- Caves III and IV have remnants of damaged frescoes.
- Decorative work, including lotus flower panels, is found on the ceiling of Cave II.
- Rangmahal (Cave IV):
- Thirty-five paintings of Buddha in meditation are in front of the entrance.
- Colored ornamental scrolls and figures resembling boats and human arms are observed.
- Ornamental paintings of flowers, fruits, and birds appear on separate panels.
- Decayed state of the cave's roof.
- Historical Narratives:
- Closely connected paintings in the verandah between Cave IV and Cave V depict a historical event.
- Scenes include a sorrowful queen, two princes meeting visitors, flying Buddhist monks, dancing girls, and a royal procession.
- Flight of Monks and Paradise Depiction:
- Bagh paintings show monks flying amidst clouds, reminiscent of the Mahavamsa's mention of arhats displaying super-human powers.
- A depiction of a monk in a garden possibly represents a Rajguru in a Royal park, as per Mahavamsa.
- Men in Persian Dress and Procession:
- Figures of men in Persian dress appear, possibly engaging in unrhythmic movements.
- Procession scenes depict men with their hair tied in a knot behind, wrapped with chintz cloth, unique to Bagh paintings.
- Inscription and Lay Worshipper 'Harideva':
- An inscription fragment suggests that a Buddhist lay worshipper named 'Harideva' drew or decorated the caves to earn spiritual merit.
- Relation to Ajanta and Execution Period:
- Bagh paintings closely follow the style of Ajanta, suggesting a direct descent from the Ajanta School.
- Believed to have been executed between the middle of the sixth and seventh centuries.
Cultural Depictions in Bagh Caves:
The subsequent scenes introduce vibrant elements of cultural expression. Two paintings showcase dancing girls in a lively display, accompanied by two dancers adorned in Persian costumes. This amalgamation of cultural influences highlights the cosmopolitan nature of ancient Indian society, where diverse elements seamlessly coexisted.
Royal Procession and Festive Occasions:
A noteworthy depiction in the Bagh paintings is the portrayal of a procession of royal personages and soldiers mounted on horses and elephants. This grand spectacle resonates with historical accounts found in the Mahavamsa, a Sinhalese chronicle laden with legends but offering glimpses into the ancient period's customs and traditions. The practice of well-dressed dancing girls and musicians accompanying Buddhist kings in state processions finds resonance not only in the Mahavamsa but also in other ancient texts like Valmiki's Ramayana.
Dancing Girls and Stylish Processions:
The Bagh and Ajanta paintings provide visual testimony to the opulence of royal processions, with elegantly attired women playing drums while mounted on elephants. The portrayal of dancing women with thin, ornamented hair echoes the descriptions in these ancient texts, creating a seamless connection between artistic representation and historical reality.
Cultural Diversity and Mimic Dancers:
A fascinating aspect of the Bagh paintings is the inclusion of figures in Persian dress, seemingly engaging in an unrhythmic caper. This portrayal aligns with the Mahavamsa's references to mimic dancers during royal festivities. The unique depiction of men with their hair tied in a knot, wrapped with chintz cloth, adds a distinctive touch to the narrative. While not common in other Bagh paintings or elsewhere, it stands as a testament to the diverse coiffure styles of the time.
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