Question

Which one among the following is not correct about the painting in Ajanta?
A. Scenes have no dividing frame and they blend into each other.
B. Scenes are both religious and secular.
C. The influence of Gandhara art is seen.
D. Scenes mostly depict the tales of Jataka.

Answer 1

Hint The artworks in the Ajanta surrenders overwhelmingly portray the tales. Each mix into the other, the minor figures and the example capably driving the eye to the focal figures of every scene.

Complete step-by-step solution
The Ajanta Caves were inherent in a period when both the Buddha and the Hindu divine beings were all the while respected in Indian culture. This is proven by engravings in which these rulers, who are also called Hindu aficionados, made Buddhist commitments to the caverns.
The inscription and paintings in the Ajanta give in overwhelmingly portray the Jataka stories. These are Buddhist legends portraying the past births of the Buddha. These tales install antiquated ethics and social legends that are likewise found in the tales and legends of Hindu and Jain writings. The Jataka stories are exemplified through the existing model and forfeit that the Buddha made in several of his previous manifestations, where he is portrayed as having been renewed as a creature or human.
Painting artworks get by from both the prior and later gatherings of caverns. A few pieces of wall paintings saved from the prior caverns are viably special stabilities of antiquated work of art in India from this period, and "show that by Sātavāhana times, if not prior, the Indian painters had dominated a simple and familiar naturalistic style, managing huge gatherings of individuals in a way practically identical to the reliefs of the Sāñcītoraņa crossbars". A few associations with the specialty of Gandhara can likewise be noted, and there is proof of a common creative colloquialism.
So, it leaves us with ‘Scenes have no dividing frame and they blend into each other.’

Therefore, the answer is A.

Note No casing partitions one scene from the following, yet each mix into the other, the minor figures and the example handily driving the eye to the focal figures of every scene. There is no point of view, yet a figment of profundity is given by putting the foundation figures fairly over those in the forefront.