About Artist

Unparalleled in its history of aesthetics and excellence in the world, Ajanta paintings are exceptional area of India’s cultural heritage. Despite a hoard of scholars having explored the significance of Ajanta it still remains fathomless due to its boundless scope for investigation and inquiry. An interminable and immortal work, it provides internal space to rummage and research. Some paintings in Ajanta still retain the original splendour but most have either withered, faded, blurred, creased or degraded.

At this disastrous stage,After a span of nearly 2000 years, now the Ajanta cave paintings are in a mostly damaged and vanished condition, either ravaged by nature of brutalized by man. So here appears an artist, reborn to provide an antidote to the injured paintings giving a new life and a longer span too. Inadvertently magnetized by Ajanta paintings at the age of twelve, Mr. Pimpare a renowned artist exclusively on Ajanta painting emerged as a saviour remained busy in recreating the deteriorating paintings of Ajanta. Articulate & microscopic visibility could become possible due to the patient and tenacious efforts put in by Mr. Pimpare and since all of 55 years has been reconstructing the nearly lost heritage for posterity. He has been attempting to restore the valuable goldmine to its original glory.

After joining the department of history as an artist, Mr. Pimpare started toying with the idea of cutting the work done by his ancestry from Vatsagulm Nagar. Backed and supported by the Head of History department, Professor Ramesh Shankar Gupte, Mr. Pimpare drew more inspiration and encouragement.

Mr. Pimpare has emerged in deep into the sea of Ajanta colours to dig into the secrets shrouded by thick layers of dust. There is an ocean of historical facts which can be perceived through this art but most scholars have ignored this kind of study. Events, incidents, occurrences hitherto masked from common knowledge will be exposed through his work, for the public view. The artist reveals minute details of the palm are white, where he attempts at distinguishing between the outer colours of the skin and protected skin. Microscopic details of the veins and arteries are lucid and anatomical study is extremely; minute. Even the movement of hair blown by air is beautifully drawn. There is an evidence of advance medical science where a person is seen donating his eyes.

Mr. Pimpare set out to work on Ajanta paintings more precise than the work done by both Indian and foreign artists. The major works on Ajanta painting were done wiz; one by Major Robert Gill, an artist attached to Madras Army second by Johan Griffith, Principal of J.J.School of Arts, Mumbai and third by Ghulam Yazdani heading the Archaeological Department of the Deccan circle under the Nizam of Hyderabad. Major Gill copied all the Ajanta Paintings till 1875. Johan Griffith too recopied the paintings. He published one or two volumes of work in 1896.The third significant work on these paintings was done by Gulam Yazdani These were mostly excellent colour photographs and outline drawings with accompanying texts. The main difference between Pimpare’s work and all other Artis is that all other only replicate the image of Ajanta paintings during that time, while Pimpare’s highlighting the original splendour of the paintings