Ajanta Caves:
The Ajanta Caves are 30 (roughly) rock-cut Buddhist cave structures in the Aurangabad district of Maharashtra, India, that date from the second century BCE to around 480 CE. The caves contain paintings and rock-cut sculptures that are regarded as among the finest surviving examples of ancient Indian art, notably expressive paintings that convey emotion via gesture, position, and shape.
According to UNESCO, these are masterpieces of Buddhist religious art that impacted later Indian art. The caves were developed in two phases, the first beginning about the 2nd century BCE and the second lasting between 400-650 CE, according to older reports, or 460-480 CE according to subsequent study. The Archaeological Survey of India manages the site as a protected monument, and the Ajanta Caves have been a UNESCO World Heritage Site since 1983.
The Ajanta Caves are ancient monasteries and worship halls from several Buddhist traditions cut into a 250-foot wall of rock. The caves also contain murals illustrating the Buddha’s previous incarnations and rebirths, illustrations from Aryasura’s Jatakamala, and rock-cut sculptures of Buddhist deities. According to textual documents, these caves served as a monsoon retreat for monks and a resting place for traders and pilgrims in ancient India. While vibrant colors and mural wall-painting were common in Indian history, as documented by historical sources, Caves 16, 17, 1, and 2 in Ajanta contain the largest collection of surviving ancient Indian wall-painting.
Ajanta’s 30 caverns are located north of Aurangabad in the Indhyadri region of the Western Ghats. The caverns, known for their temple architecture and intricate murals, are situated on a 76-meter-high horseshoe-shaped escarpment overlooking the Tiger River.
Jataka Image in Ajanta
Cave 1
The vihara (monastery) has a squarish plan with an open courtyard and porch with cells on either side, a central hall with 14 cells, a vestibule, and a garbha griha (inner sanctuary). Despite its less-than-ideal location at the ravine’s eastern extremity, the cave’s wonderfully painted murals, sculptural and architectural features make it genuinely fit for a monarch; after all, Emperor Harisena patronised this “regal” cave. The sanctum houses paintings by Bodhisvattas Padmapani and Vajrapani, as well as a Buddha figure in dharma chakra pravartana mudra. Murals depicting Sibi, Samkhapala, Mahajanaka, Mahaummagga, Champeyya Jatakas, and Mara’s temptation are all important characteristics.
Buddha Sculpture in Ajanta
Cave 2
The vihara has a portico with cells on both sides, a pillared hall with 10 cells, an antechamber, and a garbha griha. Most noteworthy, this cave has two subshrines. The Buddha in the main shrine is surrounded by two yaksha statues (Sankhanidhi and Padmanidhi) on the left and two others (Hariti and her spouse Pancika) on the right. The cave walls and ceiling are beautifully adorned with images of Vidhurapandita and Ruru Jatakas, the miracle of Sravasti, Ashtabhaya Avalokitesvara, and Maya’s dream.
Cave 3
This is an incomplete vihara consisting only of a pillared verandah.
Cave 4
Ajanta’s greatest vihara features a carved figure of Bodhisvatta, who is said to alleviate eight grave perils. The construction typically consists of a pillared verandah with neighboring cells, a central hall flanked by another pair of cells, an antechamber, and a garbha griha.An unusual geological structure on the ceiling creates the impression of a lava flow.
Buddha with His Disciples
Cave 5
This is an unfinished excavation that has only resulted in the carving of a porch and a mostly incomplete internal hall. The structure at Ajanta lacks architectural and sculptural characteristics, except for an ornate door frame depicting female Makara figures.
Cave 6
This two-story structure is referred to as Cave 6 Lower and Cave 6 Upper. Both stories feature an enshrined Buddha. Cave 6 Lower’s pillared porch, if it ever existed, is no longer standing. It is also thought that the upper floor was added after the excavation of the lower level had already begun.The lower cave’s shrine and antechamber have several remarkable murals. Buddha appears in a variety of moods across both caves.
Nagaraja, Ajanta
Cave 7
The vihara consists of two tiny porticoes supported by octagonal pillars with eight cells, an oblong central hall, and the garbha griha with Buddha preaching position. There are numerous sculptures, one of which is a prominent panel showing Naga Muchalinda (the many-headed serpent monarch) protecting a seated Buddha.
Cave 8
Perhaps the earliest monastery, belonging to the Satvahana era of excavation, this cave is located at the lowest level and a large piece of the structure’s front has been wiped away by a landslide. Few architectural elements remain, although it is worth noting that the sanctum lacks a Buddha figure.
Cave 9
Excavated in the 1st century BCE, this is one of the oldest chaityas (prayer halls) in Ajanta. A row of 23 pillars separates the aisles that surround the nave on either side. The stupa is located at the far end. The ceiling of the nave is vaulted, while the aisles are flat. The stupa is located in the center of the apse, standing on a high cylindrical foundation. The use of wooden rafters and beams on the ceiling, façade, and tapered octagonal pillars demonstrates a commitment to contemporary wooden architectural style. The murals here are from two different eras: the first occurred during excavation, and the cave interior was repainted in the later phase of activity, about the 5th century CE.
Buddha, Ajanta Cave No. 10
Cave 10
This is the oldest chaitya in the cave complex, constructed in the 2nd century BCE. The nave and aisles are separated by 39 octagonal pillars, and the stupa is positioned at the apsidal end. The cave was repainted subsequently and now features murals from two separate periods. The scenes represent Bodhi tree worship and stories from the Sama and Chaddanta Jataka. The severe begriming of the surface indicates that it was used alongside cave 9 over the millennia, but possibly not continually. A Brahmi inscription states that the façade was a gift from “Vasithiputa Katahadi.”
Cave 11
This vihara, dating back to the early 5th century CE, consists of a pillared verandah with four cells, a hall with six cells and a long bench, and the garbha griha, which has an unfinished stupa and an image of Buddha preaching.
Cave 12
This vihara, dating from the 2nd to 1st century BCE, was most likely excavated shortly after Cave 10. The facade of this monastery has entirely fallen. Only the center hall, with four cells on each of its three inner sides, remains. Each cell is outfitted with double beds and elevated stone pillows. The cell exterior features chaitya window motifs above each door. According to an inscription, this monastery was given as a gift by a trader named Ghanamadada.
Mural, Ajanta Caves
Cave 13
This small vihara from the first phase, presumably from the 1st century CE, features a central astylar hall and seven adjoining cells on three sides.
Cave 14
Excavated above cave 13, this unfinished vihara. Though originally planned on a vast scale, it never advanced beyond the first half. The top corner of the doorway features a magnificent representation of Salabhanjika, a woman severing a branch of a Shorea tree.
Cave 15
The vihara was unearthed in the mid-5th century CE. The plan follows the traditional vihara format of a pillared porch with a cell at each end, an astylar hall with eight cells, an antechamber, and a sanctum sanctorum with a Buddha sculpture.
Cave 15A
This unusual numbering is owing to the fact that it was covered behind the rubble while the caves were being numbered. This is the smallest vihara in Ajanta, from the early excavation phase. It is made up of a small central astylar hall and one cell on either side. The hall is eased with the Chaitya window design.
Cave 16
It is one of the greatest excavations and is positioned in the center of the ravine’s arc. According to the inscription, it was a gift from the imperial Prime Minister Varahadeva. The massive hall is flanked by fourteen cells. The garbha griha features a sculpture of Buddha in pralamba padasana mudra. Some of the best examples of murals are kept here. Narratives include Jataka stories like Hasti, Maha Ummagga, and Maha Sutasoma, as well as descriptions of Nanda’s conversion, Sravasti’s miracle, Maya’s dream, and other events from Buddha’s life.
Cave 17
This vihara houses an impressive collection of art and architectural themes. Excavated under the benefaction of local feudatory Lord Upendragupta, this monastery typically consists of a pillared verandah with cells on both sides, a large central hall supported by 20 octagonal pillars and bounded by 17 cells, an antechamber, and the garbha griha with an enshrined image of Buddha.
Highlights of the murals include a heartbreaking picture of the Chaddanta Jataka, superb embellishment of pillars and pilasters, a lovely depiction of a lady looking at herself in a mirror, and an expressive account of Buddha’s conquest of Nalagari. Several Jataka stories are depicted here, including Chhaddanta, Makhakapi (in two variants), Hasti, Hamsa, Vessantara, Maha Sutasoma, Sarabha Miga, Machchha, Mati Posaka, Sama, Mahisa, Valahass, Sibi, Ruru, and Nigrodhamiga.
Cave 18
This was mistakenly counted as a cave. It is a porch with two pillars having moulded bases and octagonal shafts.
Cave 19
The façade of this chaitya is beautifully embellished with carved figures and artistic themes. The Buddha offering his begging bowl to his son Rahul is shown beside the entry door. Two life-size yaksha figures are sculpted on each side of the Chaitya arch. The apsidal plan divides the space into a nave, separated by a colonnade of 17 pillars, and aisles, with the stupa at the terminal end. The stupa features a sculpted Buddha figure with an umbrella-like crown that almost touches the domed roof. The triforium is adorned with images of Buddha in various positions. The aisle walls still include some stunning mural murals. Interestingly, the courtyard outdoors is surrounded by two side porches.
Cave 20
This vihara, possibly gifted by Upendragupta, features a porch with a cell on either side and an interior hall flanked by two cells each. The garbha griha houses Buddha in a preaching posture. A notable sculptural panel displays seven Buddhas and their attendants. Most curiously, the central hall is astylar, and the antechamber extends into it.
Cave 21
This vihara includes a verandah with restored pillars, a hall with 12 pillars, and cells in equal numbers. Four of the twelve cells have pillared porches. The garbha griha features a sculpture of Buddha in dharma chakra pravartana mudra, as well as murals on the wall depicting him lecturing to a congregation.
Cave 22
The vihara’s center hall is astylar, surrounded by four incomplete chambers. The shrine’s back wall features a carving of Buddha in the Pralamba Padasana mudra. Paintings of Manushi Buddhas with Maitreya can be found here.
Cave 23
The unfinished vihara is known for its beautifully carved pillars, pilasters, and naga (snake) doorkeepers. The construction consists of a verandah, astylar hall, antechamber, and garbha griha.
Cave 24
Another completed vihara, but the second largest excavation after Cave 4. The garbha griha has a Buddha in pralamba padasana mudra, but the cells that surround the central hall are unfinished.
Cave 25
An unfinished excavation at a higher level, the astylar center hall is not enclosed by any cells and lacks a garbha griha.
Cave 26
This chaitya is famed for its remarkable depiction of Buddha’s Mahaparinirvana (death) on the left aisle wall, combined with the assault of Mara during his penance. An inscription on the front verandah tells that it was given as a gift by Buddhabhadra, a friend of Asmaka minister Bhavviraja. The façade, inner pillars, trifolium, and aisle walls are all exquisitely adorned. The stupa features a sculpture of Buddha in pralamba padasana mudra.
Cave 27
This two-story structure, possibly from Cave 26, is a vihara. The upper floor is mostly collapsed, while the lower storey houses an inner hall with four cells, an antechamber, and a garbha griha with an ensconced Buddha picture.
Cave 28
This unfinished vihara’s pillared verandah was barely excavated before abandonment. The cave is currently inaccessible.
Cave 29
An incomplete Chaitya can be discovered on the highest level of Caves 20 and 21. This cave, too, has become inaccessible.
Cave 30
The vihara was uncovered during debris removal between Caves 15 and 16. The internal hall, a small structure with a narrow entryway, is surrounded by three cells.
Leave feedback about this