The Ajanta
and Ellora Caves are the ancient repository and Indian architectural
heritage pride of Maharashtra, India. Both these sites are world famous and are
cut in rocks. These caves are marvelous example of the highest degree of skills
and artistry that Indian craftsmen had achieved several hundred years ago with
primitive tools. Ajanta dates back 100 B.C. while Ellora is younger by some 600
years.
The
village of Ajanta is in the Sahyadri hills, about 99 kms from Aurangabad city
in state of Maharashtra of India. About
3.5 km away from village, in the hill, lays the mammoth horseshoe-formed rock
with 29 caves, overlooking the gorge. Each cave forming a room in the hill and the
some cave with inner rooms also. These all caves are carved in the solid hard
rock by hand using hammer and chisel primitive tools, faith and inspiration of
Buddhism. These caves remind the dedication, faith, commitment, unity and above
all the selflessness of living humans of that period. The river Wagura, a
mountain stream flows along the bottom of the ravine. This river falls from a
height of 200 ft, thus making a series of waterfalls. The sound of the
waterfalls can be heard in the caves also.
Aurangabad
City was founded in 1610, on the site of a village, Khirki by Malik Ambar and
has always been a prominent region on the Deccan plateau. Having been inhabited
since the Stone Age, it has a long artistic and cultural history - to which
several dynasties have made major contributions over the years. Maurya rule
marked the arrival of Buddhism in Maharashtra.
Ajanta
and Ellora caves were shrouded in ignominy for over a millennium, till John
Smith, a British Army Officer stumbled upon them while on a hunting expedition
in 1819. Today Ajanta and Ellora caves have been honored the world heritage
site status to be preserved as an artistic legacy for generations to witness.
Ajanta
caves have panels depicting tales from the Jatakas, a rich collection of
stories dealing with several reincarnations of the Budhhaand as well as
frescos which are reminiscent of the sigiriya paintings in Sri
Lanka, were built as secluded retreats of the Buddhist monks. These monks
taught and performed rituals and prayers in the Chaityas (chapels) and lived in
Viharas .Many of the caves have the most exquisite detailed carvings on the
walls, pillars and entrances as well as magnificent wall paintings. The carvings and the paintings in the caves
depict the life stories of Lord Buddha. Along with this, several types of human
and animal figures are also carved out of the rocks. These caves houses some of
the most well preserved wall paintings including that of two great
Boddhisattvas, Padmapani and Avalokiteshvara. These caves have some of the most
divine sculptures and images of Budhha preaching. One can have a first hand
info on the overall development of Buddhism, observing these caves.
In
their range of time and treatments they provide a panorama of life in ancient
India and are a source of all kinds of information hair styles, ornaments,
textiles, musical instruments, details of architecture, customs etc. It was
from this collection of classical Indian art that a particular style was formed
that traveled with Buddhism to many parts of the world. Similar paintings can
be seen in Sigiriya in Sri Lanka, Bamiyan in Afghanistan, temples and shrines
in Tibet, Nepal, China and Japan.
Royal
patronage made Ajanta possible. Professional artists carried out much of the
work and each contributed his own individual skill and devotion to this
monumental work.
Visitors
often ask how the artist who painted the detailed frescoes and chiseled out the
intricate carvings, managed to work in the dark interiors of the caves. It has
been noticed that the caves are illuminated by natural light for part of the
day and it is presumed that metal mirrors or sheets of white cloth were used to
reflect sunlight into the inner recesses.
Since
1983, the Ajanta caves have been a UNESCO World Heritage Site. The Caves are
about 59 kilometers from Jalgaon Railway station (on Delhi - Mumbai, Rail
line of the Central railways, India); and 104 kilometers from Aurangabad (From
Ellora Caves 100 Kilometers).
The Ajanta
Caves
The
caves are numbered from east to west, 1 through 29. Today, a terraced path
connects the cave, but in ancient times each was independently accessed from
the riverfront. A viewing platform across the river affords an
excellent view of the entire Ajanta site. The natural beauty of the area makes
it clear why the monks chose the site for their spiritual pursuits. The
carvings of caves in order are estimated as below:
Phase
I: 2 nd century BC to 1 st century BC
Caves
9 & 10: Chaitya Halls or shrines
Caves
12 & 13: Viharas or monasteries
Phase
II: 5 th century AD to 6 th century AD
Caves
19,26 & 29: Chaitya Halls or shrines
Caves
1-7, 11, 14-18, 20-25, 27 & 28: Viharas or monasteries
CAVE 1
The
first monastery was built on the eastern end of the horse –shoe shaped
scarp. The cave has one of the most
elaborate carvings on its façade with relief sculptures on the entablature and
ridge and is the most popular of the monastery caves at Ajanta. Every inch of
the cave was originally painted, though much has worn away over the
centuries. The cave has a porch with
simple cells on both ends. The absence of pillared vestibules on the ends
suggests that the porch was not excavated in the latest phase of Ajanta when
pillared vestibules had become a necessity and norm. There are three doorways,
a central doorway and two side doorways. Two square windows were carved between
the doorways to brighten the interiors.
Each
wall of the hall inside is nearly 40 feet long and 20 feet high. Twelve pillars
make a square colonnade inside supporting the ceiling, and creating spacious
aisles along the walls. There is a shrine carved on the rear wall to house an
impressive seated image of the Buddha, his hands being in
the dharmachakrapravartana mudra. There are four cells on each of the
left, rear, and the right walls. The walls are covered with paintings in a fair
state of preservation. The scenes depicted are mostly didactic, devotional, and
ornamental. The themes are from the Jataka stories (the stories of the Buddha's
former existences as Bodhisattava), the life of the Gautama Buddha, and those
of his veneration.
CAVE 2
Adjacent
to Cave 1, is known for the painting that have been preserved on its walls,
ceilings, and pillars, It looks similar to Cave 1 and is in better state of
preservation. This monastery consists of cells, sanctum, and two pillard
sub-shrines. Painting appear on almost every surface of the cave except for the
floor. While the seated Buddha in
dharmacakrapravartana mudra is enshrined in the sanctum, the side sub-shrines
contain two Yaksha figures (popularly known as Sankhanidhi and Padmanidhi) to
the east and Hariti & her consort Pancika to the right. The façade of
this Mahayana monastery cave shows the kings of Naga and their entourage.
Inside, a glorious mandala dominates the ceiling, held by demons and decorated
with birds, flowers, fruits and abstract designs. The ceiling gives the effect of
a cloth canopy, right down to the sag in the middle.
The
painted narratives of the Jatak tales are depicted only on the walls, which
demanded the special attention of the devotee. They are didactic in nature,
meant to inform the community about the Buddha's teachings and life through
successive births. Their placement on the walls required the devotee to walk
through the aisles and 'read' the narratives depicted in various episodes. The
narrative episodes are depicted one after another although not in a linear
order.
CAVE 3
This
is an incomplete monastery and only the preliminary excavation of pillared
verandah exist.
CAVE 4
This
squarish monastery consists of a hall, sanctum sanctorum, pillared verandah and
is datable to first half of sixth century A.D. This is the largest monastery at
Ajanta measuring.
CAVE 5
This
monastery is an unfinished one. However, the T-shaped richly carved door frame,
and female figures on makaras are important ones.
CAVE 6
This
was the first important cave of the Mahayana Phase. This is a double storied
monastery (16.85 X 18.07 m) consisting of hall, sanctum sanctorum and a
pillared hall in the lower storey and a hall with cells, subsidiary cells and
sanctum sanctorum in the upper storey. Buddha in preaching attitude is housed
in both the shrines. The depiction of Miracle of Sravasti and Temptation of
Mara are the important paintings. Sculptural depiction of Buddha in various
attitudes and postures can also be noticed here. The painting of Bhikshu in
this cave in the middle, done about 5th century, is almost like a relief. There
is the rhythmic vitality in the line and boldness of drawing. The painting is
almost like a sculpture. The folds of the garment, the rounded belly, and the
calm on the face suggest a devote worshipper.
CAVE 7
This
monastery consists of a sanctum sanctorum, an oblong open hall with two small
porticos supported by heavy octagonal pillars and eight cells. Buddha in
preaching attitude is housed inside the sanctum. Other sculptural panels
include Miracle of Sravasti, seated Buddha under the protection of
Nagamuchalinda, etc.
CAVE 8
This
is an unfinished monastery
CAVE 9
This
apsidal chaityagriha is datable to second century B.C. and belongs to the Hinayana
phase of Buddhism. This is a Chaitya gathering hall. The chaityagriha consists
of an entrance door, two side windows, central hall, nave flanked by side
aisles (pradikshana) on either side separated by a row of 23 pillars and a
stupa, the object of worship. There are two early paintings, which
survive. Frieze Of Animals And Herdsmen Naga Worshippers Giant Horseshoe Window.
There
is a Giant Horse-Shoe Window on the façade. The carving of this window suggests
that it copied a wooden structure of the same time. The pillars and the
slanting eight-sided columns are also copied from wooden structures of earlier
times.
CAVE 10
The
cave 10 is of the about the same time as the cave 9. It has a similar shape.
The large chaitya gathering hall is 28.5m X 12.3m wide and 11m high. It has a
stupa shrine at the ambulating passage around the symbolic stupa.
The
cave consists of a large central hall, nave flanked by two aisles (pradikshana)
separated by a row of 39 octagonal pillars and a rock stupa at the apsidal end,
the object of worship. The cave consists of two period of paintings, the
earlier dated to 2nd century B.C and the later 4th – 6th century A.D. Two
Jataka stories of this period have been identified, namely, the Sama (Shama)
Jataka and the Chhaddanta Jataka. The later period paintings contain Buddha
figures in various poses mainly over the pillars.
CAVE 11
This
monastery datable to beginning of fifth century A.D. consists of a hall with
six cells and a long bench, a pillared verandah with four cells, a sanctum
sanctorum. The Buddha in shrine of cave is one of the earliest images at
Ajanta. Buddha in preaching attitude is housed in the sanctum against an
unfinished stupa. The important fact about this Buddha is that it is attached
to a Stupa. This means a compromise between stupa worship and image worship. Few
paintings that available here depicts Bodhisattvas, figures of Buddha, etc.
This
cave is interesting, because it shows the transition from the earlier Hinayana
to the later Mahayana Buddhist phase of worship. The round stupa has the images
of the Buddha to its bare girth.
CAVE 12
This
Hinayana monastery consists of a hall. The front wall is completely collapsed
sided by twelve cells arranged on three sides.
CAVE 13
This
is a small monastery and belongs to the first phase. It consists of an astylar
hall with seven cells on three sides. The cells are provided with rock-cut
beds.
CAVE 14
This
unfinished monastery was excavated above Cave 13 at a higher level. It was
originally planned on a large scale. The depiction of sala bhanjikas on the top
corners of doorway is beautifully depicted.
CAVE 15
The
monastery consists of an astylar hall with eight cells, an antechamber, sanctum
sanctorum and a pillared verandah. The sculptural depictions include Buddha in
various postures, seated Buddha on simhasana inside the sanctum sanctorum. The
traces of paintings indicate that it was originally painted.
CAVE 15A
Smallest
of all the excavations at Ajanta this cave consists of a small central astylar
hall with one cell on three sides. The front wall had an inscription in shell
characters (which is now lost). The hall is relieved with chaitya window pattern
rising from vedica pattern.
CAVE 16
According
to an inscription found here, the excavation of this cave was caused by
Varahadeva, the minister of Vakataka king Harishena (circa A.D. 475-500). The
cave (19.5 X 22.25 X 4.6 m) which is a monastery consists of a central hall
surrounded by 14 cells on three sides, vestibule and a sanctum for Buddha
image. The important painted themes depicted are the conversion of Nanda; Miracle
of Sravasti; Maya’s dream; and certain incidents from the life of Buddha. The
Jataka stories depicted are Hasti, Maha-ummagga, Maha-sutasoma. Painted
inscriptions can also be noted inside the caves.
Here
two Goddesses stand on neatly carved pilasters The Buddha figure in the shrine
is of about the same time as the Buddha in the shrine of the cave 6 (lower) and
cave 11 as the Buddha in cave 16 seated with his heavy feet down the base, it
is more than life size and fairly uncommon. Lions and other active animals
support the throne. Bodhisattvas stand behind him. This cave gives a good view
of the ravine. From the large verandha we enter a hall.
CAVE 17
The
porch doorway of cave is similar to that of cave 16 with which it is
contemporary. But the seated couples on both the doorjambs and lintels improve
on this cave. A Brahmi inscription found here records the excavation of this
cave by a feudatory prince under Vakataka king Harishena. This monastery
consists of a spacious hall surrounded by 17 cells on three sides, a vestibule
and a sanctum containing the image of Buddha. The T-shape shrine doorway has
goddesses, supported by pilasters. This doorway is highly decorative. The plan
of this cave is simple and severe. The pillars in both the porch and interior
are arranged in a strict order. All the pillars were painted. The pillars near
the shrine have intricate carvings. The cave houses some of the well preserved
paintings, a huge and gigantic wheel representing the ‘Wheel of Life’.
The
Buddha in the shrine is seated in the Yogasana. His hands are held in the
Dharmachakra mudra, or teaching gesture. There are bodhisattva attendants
holding flywhisks. The dwarfs bring garlands. Devotees appear with offerings.
The circumambulatory passage around the image shows it is a relatively early
cave. The pilasters at the right hand of the porch of this cave are fairly
simple. This cave was in transition from Hinayana to Mahayana. So some
survivals of symptoms of floral and geometric paintings can be seen on
pilasters.
CAVE 18
This
consists of a rectangular excavation
leading into another cell. The hall has two pillars with moulded bases
and octagonal shafts.
CAVE 19
This
chaityagriha gathering hall with many paintings and sculptures is datable to
fifth century A.D. and could be the gandhakuti. The stupa is carved with a
standing image of Buddha 7.
This
cave is known for it sculptural grandeur of the façade and particularly the two
life size Yaksha images on either sides of the chaitya vatayana (arch). The
hall has painted depictions of Buddha in various postures.
CAVE 20
A
pillar less monastery consists of hall cells, sanctum sanctorum and a pillared
verandah datable between A. D. 450 and 525. Buddha in preaching attitude is
housed in the sanctum. The sculpture of seven Buddhas accompanied by attendants
is another important sculptural panel in this cave.
CAVE 21
This
monastery consists of a hall with twelve
pillars and twelve cells on three sides, sanctum sanctorum, pillared verandah
(pillar’s restored now). Out of 12 cells four are with pillared porches. The
sanctum house seated Buddha in preaching attitude. Trace of paintings are
noticed which consist of a panel depicting Buddha preaching a congregation.
CAVE 22
This
monastery consists of an astylar hall four unfinished cells, sanctum sanctorum
and a narrow verandah. Buddha seated in pralamba-padasana is carved on the back
wall of the shrine. The sculptural depiction of Buddha in different forms,
painted figures of Manushi-Buddhas with Maitreya can be noticed here.
CAVE 23
This
is an unfinished monastery .
CAVE 24
This
is an incomplete monastery
CAVE 25
This
monastery consists of an astylar hall, pillared verandah and an enclosed
courtyard and excavated at a higher level. Two cells are noted on the left end
of the verandah and the hall has no cells. The hall is devoid of shrine.
CAVE 26
This
chaityagriha is quite similar to Cave 19, but of a larger dimension and more elaborately and exquisitely provided
with sculpted figures. The chaityagriha consists of a hall, side aisles
(pradikshana) and a rock-cut stupa front by an image of Buddha. The highlight
is a large carved statue of the reclining Buddha, representing his moment
of death. Below him, his followers mourn his passing; above, celestial beings
rejoice. The cave also contains a stupa with an image of the Buddha
in a pavilion.
CAVE 27
This
cave could have been part of Cave 26 and it consists of two storeys, the upper
one partially collapsed. The monastery consists of a hall with four cells,
antechamber and sanctum sanctorum. Buddha in teaching attitude is housed inside
the sanctum.
CAVE 28
This
is an unfinished monastery of which only the pillared verandah was excavated.
CAVE 29
CAVE 29
This
is an unfinished chaityagriha in its
first stage of excavation and located at the highest level, located between
Caves 20 and 21.
It
is worth walking away from the caves in order to look back on to the horseshoe
gorge. The ingenuous water cistern system can be seen which must have provided
water for the monks and their visitors. Ajanta was on the ancient trade route
leading to the coast so there must have been considerable activity and many
visitors. Nobody really knows what life was like in those times and visitors
can interpret the past as they wish, which is perhaps yet another secret charm
of Ajanta.
