One of the Life time achievement in completely reconstructing Longest and oldest Painting from Ajanta.
M.R Pimpare greatest feat however was the reconstruction of the oldest painting of Ajanta (cave no.10). 2000 year old and longest panel (measuring 73ft X 4 ft). This is the worst damaged piece of art, but through sheer hard work, consistent research, imagination and visualization this painting was brought alive in all its original glory. A painting that bore the brunt of miscreants, literally concealed the panel with graffiti was given new life. It got accolades from LIMCA book of records and many eminent personalities.
Through a punctilious study of Pimpare’ s paintings it is possible to study ethnic traits in the paintings. A detail study of the people inhabiting the walls of Ajanta assist to discover people from Greece and Persia, Bacteria down to Punjab, the valleys of Himalayas, Nepal and Bengal to the East, Deccan to the West racing down till Ceylon. The paintings are also erudition on the existing castes, sub-castes and tribes.
COSTUME AND TEXTILES
Pimpare has scrupulously highlighted not only the design and patterns seen on the costumes but also emphasized the texture of the textiles worn by the people. Dress is a vital clue to the mood and taste of every society, their aesthetic temper, the art and skill to adjust to their social and geographical environment their veracious analysis of the restored paintings the varied textiles can be identified.
ORNAMENTATION, COSMETICS AND COIFFURES
A consummate galaxy of a magic world of ornamentation has been introduced. The honoured scintillate Jewellers and craftsman festooned the Ajanta earthling with classical finery. However, the ornaments of a venaatic couple comprised leaves and flowers as hair band, filed elephant tusk in ear, tiger claws in the neck and peacock feathers as armlets. The ornaments of the demons synchronizing their features and grabs composed of owl’s head, cat face, tiger claws, scorpions, elephant skulls and human skulls depicting the destructive nature of the demons. Pimpare’s restored reproductions lend meaning to the other obscure paintings.
A tangible flood of architectural details are exposed. Graphic report of decorative gateways, palace scenes, royal kitchen, and wooden sheds supported on posts, a royal court in a pillared hall, windows, balconies, doors are all bared. The clarity of the reproductions have also assisted in sketching a clear picture of the entire palace architecture right from the inner gateway to the inner apartments.
Musical Instruments are disclosed in the Dancing panels or processions and they can be easily identified. There were percussive instruments under which various types of drums are discerned. Dhols, Mridanga are seen, of the pneumatic instruments. The paintings depict, flute, shanai, horn shaped trumped and conch shells. Resonator instrument like gongs, cymbals and castanets were also used by the ancients.