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.
Based on the previous discourse, here I would like to say that although we attempted to establish about the innovative talent of Ajanta artists, however, the truth is,.................
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.