64 62 63 64 65 66 6.7 CHAPTER VI IMPACT OF SOCIAL AND CULTURAL COMMUNICATION Introduction Sociological (Socio) Cultural Aspects ‘The report of content analysis ‘The report of social survey Link between Ancient Message and Modern Analysis and Coordination Development of new cultural communication theory ‘Summary References 164(CHAPTER VI IMPACT OF SOCIAL AND CULTURAL COMMUNICATION 6.1 Introduction The theme of most Ajanta paintings is religious. A dramatic panorama of contemporary life is rendered with religious themes as the narrative basis. A high spiritual level is achieved in these paintings and sculpture though their appearance is worldly and they are aesthetic as well. Ajanta is one of the classic monuments of the world, which has the power to attract a number of tourists, whose comments have been studied with special reference to cultural communication. As it is said that art is the mirror of society, the artist depicts his own surroundings, whether it is sculpture or painting the artist expresses the comprehension of society at the same time and his own personality can also be seen. Asit Kumar Haldar has rightly opined that, “the art of an artist reveals not only the essence of his own personality but that of the country or even nation which he belongs to”! Some artists were monks, so soul religious zeal is seen in the execution of the work. It has also been observed by Bhattacharya that, “the art is secular since some of the guild workers are not Buddhist monks. So in the later caves, decorative motifs are abundant. The changes of dynasties and the taste of patrons of these caves have @ strong impact on these allied arts. The personality of the artists of Ajanta is hidden behind delightful paintings depicted on walls.” > 165The art of painting has its individual importance. Moreover, it plays a key role in literature also. This can probably be treated in Ajanta paintings also. King Ajanta Shatru was shown a painting to communicate the Mahaparinirvana of the Buddha. 6.2 Sociological (Socio) and Cultural aspects In the Hinayana cult of Buddhism, followers paid their obeisance to the symbols like throne, footprint or Bodhi-tree and felt the presence of the Lord, But the ‘Mahayana cult followers wanted to give human form to the supernatural being. Hence the news of image worship was propagated. Sherman-E-Lee has opined that, “the instrument by which art served religion was the image, not to be confused with the slanderous term idol. The image was thought of, as an aid to worship, a means by which the concepts of the religion could be made visually manifest 10 those who needed such aid, that these images were not idols can be readily understood by a process, symbolic of the idea, sometimes used to make the image effective.” > The idol may be made of clay or stone but more stress is paid to the image and the basic concept of that image making and inner feeling. Hence, the study of sculpture in the form of content analysis is essential to understand cultural responses. Social culture is the essence of Ajanta caves. This can be examined by adopting both content analysis and social survey method. Whether it is political, sociological or cultural or religious, all the events leave some impact behind, thereby giving scope for the rise of art. Veena Shekhar has observed that, “with this kind of socio-cultural impact and evolution of religious concepts, architecture, the aesthetic building activity also began to develop. Buddhism, one of the world’s greatest religions, laying down laws on non-violence and salvation through self-denial, was founded by Gautama Buddha and was well established by this time. The Buddhists used architecture and other art forms as tools to spread their religion.” * 166Art motifs travelled beyond seas along with traders and religious preachers. Hence common art forms are found in all Asian countries, A few to mention are the Wheel, the Bodhi tree, the lotus throne, the swastik, the Kalash etc. These symbols have made a lasting impact on Indian culture. Only a cultured society can patronize arts, a troubled society cannot give birth to arts, since funds are diverted. While describing the wall paintings Dr. B. K. Apte has observed that, “the scenes show a highly cultured society living in comfort, The figures are ciegant full of expression and convey different moods and sensibilities suitable to the story they tell, without a parallel in the history of painting, At the same time, the material life is lifted to a higher spiritual plane by the figures which exhibit mystical mood,” ° ‘The Andhra Satavahanas started these cave arts in Deccan. During Vakataka and Gupta periods fine arts flourished and the period was recorded as golden era in the annals of Indian history. Art and architecture developed religious zeal and elevated material life, which was reflected in arts of the then period. Regarding the favourable environment for the growth of art S. Nagaraju has opined that, “all sophisticated arts happen to be creations of well developed, economically prosperous and socially well organized societies. Development of ideological values in addition to the purely utilitarian ones is a pre-requisite for such an activity. Their creation of art works on a large scale would further require a class of artists and crafismen, as well as a class favoured with surplus wealth and time which could be early diverted to patronize art.” * There existed an urbanized society in those days since the above-mentioned conditions are the pre-requisites of an urbanized society. Added to this religious zeal of people gave birth to religious arts, So the rock cut architecture is religious in character. Nagaraju has further opined that, “the socio-economic climate of 167‘contemporary times was quite salubrious to the growth of religious art, In fact, it is this factor that is mainly responsible for the development of rock cut architecture in ‘Western India.” ” Growth of architecture further led to the development of sculptures and paintings, 6.3. Content analysis This is a uniformly accepted method, which is applied for the content of any ‘type, print, broadcast or visual. About the use of content analysis Bhandarkar has observed that, “analysis of data may be considered as having a reference to the process of viewing the data in the light of hypothesis or research questions, as also the prevailing theories and drawing. Conclusion that will make some contributions in the matter of theory formulation or modification.” * In this study the visual content of sculpture and paintings has been analyzed and presented below. ‘The report of content analysis The images of the Buddha are seen in almost all shrines of the Buddhist caves. Regarding the images R. S. Gupte has opined that, “the most popular of the entire ‘mortal Buddha's is Gautama, who is most widely represented in Indian Buddhist art He appears in the sanctum sanctorum of Buddhist cave temples and also out side.” ° There are different types of Buddha images. These images are classified into tables attached, Bodhisattvas: Padmapani Table N° Bodhisattvas Paintings and sculptures S.N°- [Name Position am ~~ | Leff side with Totus in the right hand. Emblem [ 1 Padmapani 1 of purity of character 168x Vajrapani Right side with a thunder boll in hand ~do- Standing in the centre, Right side of the door. 3. Avalokiteswara Leff side in a sitting posture vi On the left wall of the window sides " Bodhisattva riding | Second storey right side of the door. On the — a on Makara back wall of the shrine ‘On the side wall above the pillar 8 and 9 by 5. Padmapani the sides of Buddha figure on left side of -do- throne 6 ‘Vajrapani ~do- right side ~do- a Padmapani and | Onthe right side of Veranda and each side of "| Vajrapani the Buddha ~do- Vajrapani 8 figure is little On the back side of wall -do- damaged . In Buddhism Bodhisattvas are also worshipped along with the Buddha. According to Buddhist philosophy, Bodhisattvas are saviours of humanity who were suffering due to ignorance. They refused salvation until all human beings achieve the same. They were mainly Padmapani and Vajrapani. R. S. Gupte has described the paintings of Padmapani in Cave n° I befittingly. He has opined that, “the expression on the face is very refined, The whole figure stands as a glorious tribute to the artists of Ajanta. In the right hand, the figure holds a lotus (the emblem of purity of character)”" Bodhisattvas are depicted as ‘dwarpalas’ to Lord Buddha, As per the style and technique the artists are the same who depicted Padmapani, Vajrapani and the temptation of the Mara Vajrapa The images of Bodhisattvas are generally shown with a crown and ornamented profusely and represents princess of contemporary period. They are depicted in 169