There is another technique of perspective had been using in that era we identified as “rotation perspective” and in Ajanta cave painting, we could find it in several compositions. To see this fantastic concept, we have to go to the number one cave.
By so long, we discussed the inner thought behind the concept of several compositions of Ajanta cave painting; now we are going to analyze the sense of perspective by digging the several problems they faced to bring forth the factor of distance in their painting.
By so long, we discussed the two objectives of the Ajanta composition; one, - easy composition by following the equal symmetrical concept, and secondly, the connecting-link composition where all the segments of a storytelling composition perform as a panoramic view. Besides this, there is another formation had been leading in Ajanta composition. We can recognize it as “Elliptical composition”.
The second technique has been staged after such method of symmetrical composition where a composition is structured by concatenating the several groups in a systematic way. We can easily ascribe a name of such procedure as “Connecting-link composition”. It is a unique method of composition that has widely found only in Ajanta cave painting.
After the reformation of Ajanta cave painting, now it has been distinguished properly that the Ajanta fresco of the cave number 9 and 10, started from the era of Sanchi and ended in Gupta era.
Indeed, to understand the sculptures of the several parts of India, those cave paintings of Ajanta help explicitly because all the techniques applied on the paintings of number 9 and 10 cave was implemented later in the sculptures of Amaravati, Sanchi, and Vharhut.
Now we have to move towards the number 1 and 2 caves of Ajanta where we will explore some of the excellent paintings related to the holy lifespan of Lord Buddha. Now we are in the front of cave number 1 and it is the exterior view of this cave.