Ajanta - अजंता
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Ajanta caves are located 99-km away from Aurangabad district in the state of Maharashtra. Ajanta caves were carved out from the 2nd century BC to 6th century AD,and are ranked high as a world heritage site.
The caves,including unfinished are thirty in number of which five (9,10,19,26 and 29) are "Chaitya-Grihas" and the rest are "Sangharamas" or Viharas (monasteries). The caves 1,2,16 and 17 can be ranked high among the greatest artistic works of the contemporary world.
The 30 Chaityas and Viharas have paintings,which illustrate the life and incarnations of Buddha. The artist has lent his creativity in each work with an overwhelming sense of vitality. These paintings have survived time and till date the numerous paintings glowing on the walls make the atmosphere very vibrant and alive.
Cave 9, an early chaitya hall, dates to the 1st century BC. Its entrance facade, like most of the chaityas, includes a large chaitya arch framing a window with imitation timber construction. The large window was usually the first feature to be cut into the rock of a chaitya. It served two purposes: it allowed light into the cave, and it permitted rock to be easily removed from the cave during the process of excavation.
Excavation then proceeded from the top down, a painstaking process which at least had the benefit of not requiring scaffolding during construction.
This lintel surmounts the entrance to the right portico shrine. It portrays a naga king flanked by his family and yaksha attendants. Paint remains on the ceiling; the lintel, too, was probably painted.
Incidentally, these and previous photos also demonstrate how the ubiquitous Indian motifs (flying couples, ganas, nagas, yakshas) are taken up in Buddhist, as well as Hindu and Jain, iconography.
They were hidden in the midst of a lonely glen with a streamlet flowing down below. They were scooped out into the heart of the rock so that the pious Buddhist monk could dwell and pray. During this time,images of Buddha interpreting his different life stories and several types of human and animal figures were carved out of rock in-situ.
All sections of people of the contemporary society from kings to slaves,women,men and children are seen in the Ajanta murals interwoven with flowers,plants,fruits,birds and beasts. There are also the figures of 'Yakshas','Kinneras' (half human and half bird) 'Gandharvas' (divine musicians),'Apsaras' (heavenly dancers),which were of concern to the people of that time. The Ajanta caves are dedicated solely to Buddhism.
In Cave 1,Prince Buddha is depicted delicately holding the fragile blue lotus,his head bent sideways as if the weight of his ornate jewelled crown is too heavy for his head. His half-closed eyes give an air of meditation,almost of shyness.
Cave number 2,which is one of the better-preserved monasteries with a shrine,shows how sculpture,paintings and architectural elements were used together to enhance the atmosphere of piety and sanctity. The ceiling and wall paintings illustrate events associated with Buddha's birth.
A sculptured frieze of the miracle of "Sravasti",when Buddha multiplied himself a thousand times can be seen in cave 7. In cave 17 one can find the paintings that depict stories from the Jatakas or tales of the previous incarnations of Buddha and also Buddha with his right hand raised,with the palm facing the viewer,which is a symbol of "Abhaya" - reassurance and protection.
The best surviving examples of a rock cut Chaitya Griha can be seen in cave 19 at Ajanta. The elegant porch is topped by the distinctive 'horseshoe' shaped window - flanked by 'Yakshas' or guardians,standing Buddha figures and elaborate decorative motifs. The interior of the cave is profusely carved with pillars,a monolithic carved symbolic Stupa and images of Buddha,which heralded the introduction of Mahayana phase.
In cave 26,Buddha is seen seated under a Bodhi tree at Bodhgaya,meditating,when Mara and her voluptuous daughters attempted to tempt him. Buddha touched the earth with his left hand to witness his enlightenment. The "Parinivana" (ultimate enlightenment or liberation) came when Buddha left the world- as depicted in the 7m (23ft) image of the reclining Buddha in cave number 26.
Ajanta caves, designated as a UNESCO World Heritage site, holds masterpieces of Buddhist religious art, considered the finest examples of architecture. These historical manmade caves containing paintings on the walls and ceilings primarily depict the life of the Buddha before his enlightenment. The caves are located 100km northeast of Aurangabad, the nearest railhead being 55 km north at Jalgaon city of Maharashtra, India.
The golden age of Buddhism began with the conversion of Emperor Ashoka into the religion in the 3rd century BC. Around 2nd century AD Buddhism split into two sects, Hinayana and Mahayana. The caves at Ajanta which cover both the systems, belong to two distinct phases of Buddhist rock-cut architecture, separated from each other by an interval of about four centuries. They were created out of hard rock with the barest of implements and served as monastic retreats for Buddhist monks, scholars, pupils and artists. The caves which were found to be continuously used or lived in from 200 BC to about AD650 were rediscovered in 1819, by a group of British soldiers who stumbled upon these cultural treasures overrun by foliage, many of them clogged with debris.
The 30 rock-cut caves with incomparable beauty, are cut into the steep face of a horseshoe-shaped hillside, silent but for the birdsong from the nearby Waghore River. The caves, some of them unfinished, are of two basic designs called 'Chaitya grihas' and 'Viharas'. Five of the caves (9,10, 26,29) are Chaityas (Buddhist cathedrals) while the other 25 are Viharas (monasteries). Chaitya grihas were halls of worship - large, rectangular chambers separated by rows of pillars into a central nave, surrounded by aisles on three sides, for circumambulation during prayer, with a sanctuary opposite the entrance. The Chaityas are decorated with sculptures and murals depicting the many incarnations of Buddha. Viharas or monasteries are rectangular shaped halls with series of small cells attached on two sides for the dwelling of monks. Among them, the earlier group belong to the Hinayana sect (2nd century B.C) and the latter group, to the Mahayana sect (A.D. 450 to 650).
Many of the caves are dark inside and without a light paintings are hard to see. A lighting ticket has to be purchased on production of which the cave guards turn on the lights for you to see the paintings. Many of the paintings still glow in their original colours. The outer walls are covered with sculptures. The art depicts the elegant timber-built interiors of spacious palaces, halls, peopled by be- jewelled princess and princesses, retinues of attendants, mendicants and market places, celestial musicians and fur capped foreign emissaries on unknown missions. War-horses in colourful trappings, monkeys, peacocks and elephants and host of other images dominate the world of these unknown artists.
Ajanta paintings are more correctly tempera, since they are painted on a dry surface. The paintings were executed after the rock walls were coated with a 1cm thick layer of clay and cow dung mixed with rice husks. A final coat of lime was applied to produce the finished surface on which the artist painted. These beautiful paintings have survived time and still make the atmosphere very vibrant and alive. The contours of the figures leave the visitor spell bound.
Cave 1, the most beautifully decorated of the Ajanta caves, has some of the best preserved paintings. Magnificent array of colours, hairstyles, poses and costumes can be seen in the paintings. A verandah surrounded by several smaller cells and porches at either end, has three doorways leading into a pillared hall which painting of Vajrapani, in Cave 1 has sculptures and narrative murals. The paintings of women, jataka scenes etc cover the hall walls. Paintings of Bodhisattvas with headdresses flank the antechamber doorway in the middle of the rear wall. The most popular among them is of Bodhisattva Avalokitesvara and Bodhisattva Padmapani in a pose of spiritual detachment, (one with lotus in his hand). These paintings reveal the true mastery of the artist and a relief carving of four deer's is also a wonder of this cave. Bodhisattva Vajrapani with a crown jewels on his head is another well known portrait of cave 1.
Cave 2 is a late 'Mahayana' vihara remarkable for its ceiling decorations and murals narrating the birth of Buddha. The painted ceiling is decorated with murals as well as geometric and floral patterns. The mural scenes include a number of 'jatakas' and events surrounding the Buddha's birth such as a scene of Buddha's mother standing in the garden at Lumbini showing his birth, Gautama being held by his mother and taking his first steps, and '1000's of Buddha's', a large painting which illustrates the miracle when the Buddha multiplied himself to confuse a heretic.
Cave 4 is the largest monastery at Ajanta and is supported by 28 pillars. The verandah has eight octagonal columns, with cells at both ends. Although it was never completed, the cave has some fine sculptures, including scenes of people fleeing from the eight great dangers to the protection of the Buddha's disciple Avalokitesvara and depicts a man and woman fleeing from a mad elephant, a man giving up his resistance to a tempting woman etc. An inscription records that Buddha image in Cave 4 was the gift of some Abhayanandi who hailed from Mathura. There are large unfinished Buddha images in the cave.
Cave 5 is also unfinished but the door was completed. The door points to an early date with heavy, curvilinear figures and low-relief 'makaras'.
Cave 6 is the only two storey vihara at Ajanta. The lower level is a pillar hall, to support the upper level; inside is a seated Buddha image with his feet squat on the base with an intricately carved door to the shrine. Stairs from the lower level lead upstairs to a hall surrounded by cells with fine paintings on the doorways. Although incomplete, the cave provides an insight to the importance of shrines.
Cave 7 has a large porch. It has an unusual design of verandah with two porches each supported by heavy sculptured octagonal Elephanta-type columns which leads directly to the four cells and the elaborate shrine. The central shrine houses the usual arrangement of Buddha and Bodhisattvas.
Cave 9 a chaitya, dates from the Hinayana period. It is a large liturgical hall, with a monolithic stone stupa carved from the living rock. The vaulted room was once wooden ribbed and leads back from a huge 3.4m arched chaitya sun windows which throws light on the stupa at the rear. Two Buddha figures from the Mahayana period on either side of the entrance are painted.
Cave 10 is said to be the oldest cave dating from 200 BC filled with Buddha's and dominated by an enormous stupa. It is a chaitya hall with an apsidal-ended interior. There are paintings from the Hinayana and Mahyana periods. The 'Shadanta jataka', (1st century BC) a legend about the Buddha, is depicted on the wall in a continuous panel. The indentations in the floor near the left-hand wall were used for mixing paint pigments. Traces of later Buddha figures are seen on the columns and aisle ceilings. The cave also preserves a number of inscriptions.
Cave 11 has a verandah and roof painted with birds and animals, flowers, a hall supported by four heavy pillars and a stone bench running along the right side. The high plinth and parapet of the exterior are decorated with railings. There are five cells and a shrine of a seated Buddha. The Buddha in shrine of cave 11 is one of the earliest images at Ajanta. The important fact about this Buddha is that, it is attached to a stupa. This indicates a compromise between stupa worship and image worship and shows the transition from the earlier Hinayana to the later Mahayana Buddhist phase of worship.
Cave 12 and 13 are small viharas belonging to the earlier phase at Ajanta. Their facades have completely collapsed, exposing their interior square cells with rock-cut beds. The doorways in cave 12 have arched motifs connected by friezes of railing motifs.
Cave 14 was planned on a grand scale, but was never finished and can be missed along with cave 15 which is a long hall with a Buddha carved out of the rock.
Cave 16 is one of the largest and later monasteries at Ajanta. Some of the finest paintings can be seen here. The combined media of painting and sculpture adorn the dark interiors. There is a fine view of the river from here. Two welcoming elephants guard the entrance. The 'Teaching Buddha' is seated on a lion throne teaching the eight fold path. The most interesting feature of cave 16 is the painting of 'The dying princess', representing Sundari, the wife of Buddha's half brother, Nanda, who left her to become a monk on which an art critic commented, "For pathos and sentiment and unmistakable way of telling its story, this picture cannot be surpassed in the history of art". This is one of the finest paintings at Ajanta. Nanda features in several other paintings, including one of his conversion by the Buddha.
toilet scene from Cave 15Cave 17 has the finest as well as the largest number of murals at Ajanta. They include beautiful Visu Vantara Jataka, Cave 17 women flying overhead on the roof, while carved dwarfs support the pillars. On the left of the verandah of cave 17, is a row of amorous couples in varied styles of dress and coiffures above which is a row of seated eight Buddhas including Maitreya, the next Buddha to come under the respective Bodhi tree. One of Ajanta's best known images shows a princess, surrounded by attendants, applying make-up. In one, there is royal procession, while in another an amorous prince plies his lover with wine. In yet another panel the Buddha returns from his enlightenment to his own home to beg from his wife and astonished son. Other favorite paintings include the scene of a woman applying lipstick and of a princess performing sringar. The ceiling of the Cave 17 porch is very elaborate, and beautifully executed.
Cave 18 is basically a cut-through to Cave 19 from Cave 17. It has a little of merit and can be missed.
Cave 19 is one of the two Chaitya halls belonging to the later series with many paintings and sculptures. It is carved with pillars, a monolithic carved symbolic stupa and images of the Buddha which heralded the introduction of the Mahayana phase. There is a standing Buddha on the tall stupa. The stupa itself is crowned with an umbrella that nearly touches the room. This cave is amongst the best surviving examples of a rock cut Chaitya griha.
Cave 20 is a small vihara and has rock-cut beams carved into the ceiling. The animals, fish-tailed figures, and lotuses are all reminders that this ceiling, like the others at the site, depicts a lotus-lake. An antechamber protrudes into the hall. The verandah columns and brackets are delicately carved.
Cave 21 has several large viharas which remain unfinished and has a fallen verandah with flanking chapels. The walls have relief carvings. The porch carving is refined and nearly complete.
Cave 23 is incomplete but the pillars are elaborate, with beautiful yakshi brackets.
Cave 24 would have been the largest vihara at Ajanta if it had been completed but the doorway is beautifully carved. Cave 24 shows how they were constructed-long galleries were cut into the rock, and then the rock between them was broken through.
Cave 26 is a large chaitya hall and two side viharas. The walls carved with scenes of the Buddha's life and miracles, including the temptations by Mara's daughters, but the most striking being a huge figure of 7m long figure of the 'reclining image of the Parinirvana (liberation) Buddha', about to enter Nirvana. Below are figures of his followers mourning his passing away and above are the celestial beings. But almost every trace of its paintings has disappeared.
Cave 27 is virtually a vihara connected to the cave 26 chaitya. There is a great pond in a box canyon 200m upstream from the cave.
These are the wonders of Ajanta. In the days of its glory, hundreds of monks lived and prayed and pondered on the meaning of life and death here. This isolated gorge and the marvels it contains are a tribute to the piety, vision, creativity and sheer determination of the men who chiselled these wonderful caves out of unyielding rock fifteen hundred years ago.
For accommodation in Aurangabad click here Five star hotels :Taj Residency(ph:0240-2381106-10; Fax:381053; e-mail: Contact Us The Welcomgroup Rama International (Ph:485441; Fax: 484768; e-mail: Contact Us ), Ambassaror Ajanta (Ph:485211-4, Fax:484367; e-mail: Contact Us ), The Meadows (Ph:677412-4; Fax:677416; e-mail: Contact Us ), and Hotel President Park (Ph: 486201-10; Fax:484823; e-mail: Contact Us ) are a little budget hotels.
There is the Ajanta Travellers Lodge at the caves and the M T D C Holiday Resort at Fardapur 5km from the caves apart from regular hotels in nearby areas which offer excellent value.
The Ajanta Caves (75°40’ N; 20°30’ E) are situated at a distance of 107 km north of Aurangabad, the district headquarters. The caves attained the name from a nearby village named Ajanta located about 12 km. These caves were discovered by an Army Officer in the Madras Regiment of the British Army in 1819 during one of his hunting expeditions. Instantly the discovery became very famous and Ajanta attained a very important tourist destination in the world. The caves, famous for its murals, are the finest surviving examples of Indian art, particularly painting.
These caves are excavated in horseshoe shaped bend of rock surface nearly 76 m in height overlooking a narrow stream known as Waghora. The location of this valley provided a calm and serene environment for the Buddhist monks who retreated at these secluded places during the rainy seasons. This retreat also provided them with enough time for furthering their religious pursuits through intellectual discourses for a considerably longer period. The caves were excavated in different periods (circa. 2nd century B.C. to 6th century A.D.) according to the necessity. Each cave was connected to the stream by a flight of steps, which are now almost obliterated, albeit traces of some could be noticed at some places.
In all, total 30 excavations were hewn out of rock which also include an unfinished one. Out of these, five (cave no. 9, 10, 19, 26, and 29) are chaityagrihas and the rest are viharas. In date and style also, these caves can be divided into two broad groups. The earliest excavations belong to the Hinayana phase of Buddhism of which similar examples could also be seen at Bhaja, Kondane, Pitalkhora, Nasik, etc. In total, 5 caves at Ajanta belong to this phase, viz., 9 & 10 which are chaityagrihas and 8, 12, 13, & 15A which are viharas. These caves are datable to the pre-Christian era, the earliest among them being Cave 10 dating from the second century B.C. The object of worship is a stupa here and these caves exhibit the imitation of wooden construction to the extent that the rafters and beams are also sculpted even though they are non-functional.
The addition of new excavations could be noticed again during the period of Vakatakas, the contemporaries of the Imperial Guptas. The caves were caused to be excavated by royal patronage and the feudatories under the Vakatakas as illustrated by the inscriptions found in the caves. Varahadeva, the minister of Vakataka king Harishena (A.D. 475-500) dedicated Cave 16 to the Buddhist Sangha while Cave 17 was the gift of a prince (who subjugated Asmaka) feudatory to the same king. The flurry of activities at Ajanta was between mid 5th century A.D. to mid 6th century A.D. However, Hieun Tsang, the famous Chinese traveller who visited India during the first half of 7th century A.D. has left a vivid and graphic description of the flourishing Buddhist establishment here even though he did not visit the caves. A solitary Rashtrakuta inscription in cave no. 26 indicates its use during 8th 9th centuries A.D. The second phase departs from the earlier one with the introduction of new pattern in layout as well as the centrality of Buddha image, both in sculpture as well as in paintings The world famous paintings at Ajanta also fall into two broad phases. The earliest is noticed in the form of fragmentary specimens in cave nos. 9 & 10, which are datable to second century B.C. The headgear and other ornaments of the images in these paintings resemble the bas-relief sculpture of Sanchi and Bharhut.
The second phase of paintings started around 5th 6th centuries A.D. and continued for the next two centuries. The specimen of these exemplary paintings of Vakataka period could be noticed in cave nos. 1, 2, 16 and 17. The variation in style and execution in these paintings also are noticed, mainly due to different authors of them. A decline in the execution is also noticed in some paintings as indicated by some rigid, mechanical and lifeless figures of Buddha in some later period paintings. The main theme of the paintings is the depiction of various Jataka stories, different incidents associated with the life of Buddha, and the contemporary events and social life also. The ceiling decoration invariably consists of decorative patterns, geometrical as well as floral.
The paintings were executed after elaborate preparation of the rock surface initially. The rock surface was left with chisel marks and grooves so that the layer applied over it can be held in an effective manner. The ground layer consists of a rough layer of ferruginous earth mixed with rock-grit or sand, vegetable fibres, paddy husk, grass and other fibrous material of organic origin on the rough surface of walls and ceilings. A second coat of mud and ferruginous earth mixed with fine rock-powder or sand and fine fibrous vegetable material was applied over the ground surface. Then the surface was finally finished with a thin coat of lime wash. Over this surface, outlines are drawn boldly, then the spaces are filled with requisite colours in different shades and tones to achieve the effect of rounded and plastic volumes. The colours and shades utilised also vary from red and yellow ochre, terra verte, to lime, kaolin, gypsum, lamp black and lapis lazuli. The chief binding material used here was glue. The paintings at Ajanta are not frescoes as they are painted with the aid of a binding agent, whereas in fresco the paintings are executed while the lime wash is still wet which, thereby acts as an intrinsic binding agent.
The caves,including unfinished are thirty in number of which five (9,10,19,26 and 29) are "Chaitya-Grihas" and the rest are "Sangharamas" or Viharas (monasteries). The caves 1,2,16 and 17 can be ranked high among the greatest artistic works of the contemporary world.
The 30 Chaityas and Viharas have paintings,which illustrate the life and incarnations of Buddha. The artist has lent his creativity in each work with an overwhelming sense of vitality. These paintings have survived time and till date the numerous paintings glowing on the walls make the atmosphere very vibrant and alive.
Cave 9, an early chaitya hall, dates to the 1st century BC. Its entrance facade, like most of the chaityas, includes a large chaitya arch framing a window with imitation timber construction. The large window was usually the first feature to be cut into the rock of a chaitya. It served two purposes: it allowed light into the cave, and it permitted rock to be easily removed from the cave during the process of excavation.
Excavation then proceeded from the top down, a painstaking process which at least had the benefit of not requiring scaffolding during construction.
Cave 2, Ajanta - Lintel
Cave 2, one of the beautifully painted viharas, dates to the late 5th century. This sculpture is from the right side-chapel at the rear of the hall. Hariti, with a child on her lap, was the goddess of smallpox, a child-eating ogress whom the Buddha converted into their protectress. To Hariti's left (in shadow) is her consort Panchika, also known as Kubera. Kubera is a yaksha, a god of wealth and the hidden treasures of the earth.This lintel surmounts the entrance to the right portico shrine. It portrays a naga king flanked by his family and yaksha attendants. Paint remains on the ceiling; the lintel, too, was probably painted.
Cave 16, Ajanta Bracket Figures
These two bracket figures from cave 16, another late-5th century painted vihara, illustrate the care which was lavished upon even the least significant decorations. Left, a flying couple (the woman's breasts are decorously covered, rather unusually for this type of figure). Right, a gana.Incidentally, these and previous photos also demonstrate how the ubiquitous Indian motifs (flying couples, ganas, nagas, yakshas) are taken up in Buddhist, as well as Hindu and Jain, iconography.
They were hidden in the midst of a lonely glen with a streamlet flowing down below. They were scooped out into the heart of the rock so that the pious Buddhist monk could dwell and pray. During this time,images of Buddha interpreting his different life stories and several types of human and animal figures were carved out of rock in-situ.
All sections of people of the contemporary society from kings to slaves,women,men and children are seen in the Ajanta murals interwoven with flowers,plants,fruits,birds and beasts. There are also the figures of 'Yakshas','Kinneras' (half human and half bird) 'Gandharvas' (divine musicians),'Apsaras' (heavenly dancers),which were of concern to the people of that time. The Ajanta caves are dedicated solely to Buddhism.
In Cave 1,Prince Buddha is depicted delicately holding the fragile blue lotus,his head bent sideways as if the weight of his ornate jewelled crown is too heavy for his head. His half-closed eyes give an air of meditation,almost of shyness.
Cave number 2,which is one of the better-preserved monasteries with a shrine,shows how sculpture,paintings and architectural elements were used together to enhance the atmosphere of piety and sanctity. The ceiling and wall paintings illustrate events associated with Buddha's birth.
A sculptured frieze of the miracle of "Sravasti",when Buddha multiplied himself a thousand times can be seen in cave 7. In cave 17 one can find the paintings that depict stories from the Jatakas or tales of the previous incarnations of Buddha and also Buddha with his right hand raised,with the palm facing the viewer,which is a symbol of "Abhaya" - reassurance and protection.
The best surviving examples of a rock cut Chaitya Griha can be seen in cave 19 at Ajanta. The elegant porch is topped by the distinctive 'horseshoe' shaped window - flanked by 'Yakshas' or guardians,standing Buddha figures and elaborate decorative motifs. The interior of the cave is profusely carved with pillars,a monolithic carved symbolic Stupa and images of Buddha,which heralded the introduction of Mahayana phase.
In cave 26,Buddha is seen seated under a Bodhi tree at Bodhgaya,meditating,when Mara and her voluptuous daughters attempted to tempt him. Buddha touched the earth with his left hand to witness his enlightenment. The "Parinivana" (ultimate enlightenment or liberation) came when Buddha left the world- as depicted in the 7m (23ft) image of the reclining Buddha in cave number 26.
Ajanta caves, designated as a UNESCO World Heritage site, holds masterpieces of Buddhist religious art, considered the finest examples of architecture. These historical manmade caves containing paintings on the walls and ceilings primarily depict the life of the Buddha before his enlightenment. The caves are located 100km northeast of Aurangabad, the nearest railhead being 55 km north at Jalgaon city of Maharashtra, India.
The golden age of Buddhism began with the conversion of Emperor Ashoka into the religion in the 3rd century BC. Around 2nd century AD Buddhism split into two sects, Hinayana and Mahayana. The caves at Ajanta which cover both the systems, belong to two distinct phases of Buddhist rock-cut architecture, separated from each other by an interval of about four centuries. They were created out of hard rock with the barest of implements and served as monastic retreats for Buddhist monks, scholars, pupils and artists. The caves which were found to be continuously used or lived in from 200 BC to about AD650 were rediscovered in 1819, by a group of British soldiers who stumbled upon these cultural treasures overrun by foliage, many of them clogged with debris.
The 30 rock-cut caves with incomparable beauty, are cut into the steep face of a horseshoe-shaped hillside, silent but for the birdsong from the nearby Waghore River. The caves, some of them unfinished, are of two basic designs called 'Chaitya grihas' and 'Viharas'. Five of the caves (9,10, 26,29) are Chaityas (Buddhist cathedrals) while the other 25 are Viharas (monasteries). Chaitya grihas were halls of worship - large, rectangular chambers separated by rows of pillars into a central nave, surrounded by aisles on three sides, for circumambulation during prayer, with a sanctuary opposite the entrance. The Chaityas are decorated with sculptures and murals depicting the many incarnations of Buddha. Viharas or monasteries are rectangular shaped halls with series of small cells attached on two sides for the dwelling of monks. Among them, the earlier group belong to the Hinayana sect (2nd century B.C) and the latter group, to the Mahayana sect (A.D. 450 to 650).
Many of the caves are dark inside and without a light paintings are hard to see. A lighting ticket has to be purchased on production of which the cave guards turn on the lights for you to see the paintings. Many of the paintings still glow in their original colours. The outer walls are covered with sculptures. The art depicts the elegant timber-built interiors of spacious palaces, halls, peopled by be- jewelled princess and princesses, retinues of attendants, mendicants and market places, celestial musicians and fur capped foreign emissaries on unknown missions. War-horses in colourful trappings, monkeys, peacocks and elephants and host of other images dominate the world of these unknown artists.
Ajanta paintings are more correctly tempera, since they are painted on a dry surface. The paintings were executed after the rock walls were coated with a 1cm thick layer of clay and cow dung mixed with rice husks. A final coat of lime was applied to produce the finished surface on which the artist painted. These beautiful paintings have survived time and still make the atmosphere very vibrant and alive. The contours of the figures leave the visitor spell bound.
Cave 1, the most beautifully decorated of the Ajanta caves, has some of the best preserved paintings. Magnificent array of colours, hairstyles, poses and costumes can be seen in the paintings. A verandah surrounded by several smaller cells and porches at either end, has three doorways leading into a pillared hall which painting of Vajrapani, in Cave 1 has sculptures and narrative murals. The paintings of women, jataka scenes etc cover the hall walls. Paintings of Bodhisattvas with headdresses flank the antechamber doorway in the middle of the rear wall. The most popular among them is of Bodhisattva Avalokitesvara and Bodhisattva Padmapani in a pose of spiritual detachment, (one with lotus in his hand). These paintings reveal the true mastery of the artist and a relief carving of four deer's is also a wonder of this cave. Bodhisattva Vajrapani with a crown jewels on his head is another well known portrait of cave 1.
Cave 2 is a late 'Mahayana' vihara remarkable for its ceiling decorations and murals narrating the birth of Buddha. The painted ceiling is decorated with murals as well as geometric and floral patterns. The mural scenes include a number of 'jatakas' and events surrounding the Buddha's birth such as a scene of Buddha's mother standing in the garden at Lumbini showing his birth, Gautama being held by his mother and taking his first steps, and '1000's of Buddha's', a large painting which illustrates the miracle when the Buddha multiplied himself to confuse a heretic.
Cave 3 was never completed
.Cave 4 is the largest monastery at Ajanta and is supported by 28 pillars. The verandah has eight octagonal columns, with cells at both ends. Although it was never completed, the cave has some fine sculptures, including scenes of people fleeing from the eight great dangers to the protection of the Buddha's disciple Avalokitesvara and depicts a man and woman fleeing from a mad elephant, a man giving up his resistance to a tempting woman etc. An inscription records that Buddha image in Cave 4 was the gift of some Abhayanandi who hailed from Mathura. There are large unfinished Buddha images in the cave.
Cave 5 is also unfinished but the door was completed. The door points to an early date with heavy, curvilinear figures and low-relief 'makaras'.
Cave 6 is the only two storey vihara at Ajanta. The lower level is a pillar hall, to support the upper level; inside is a seated Buddha image with his feet squat on the base with an intricately carved door to the shrine. Stairs from the lower level lead upstairs to a hall surrounded by cells with fine paintings on the doorways. Although incomplete, the cave provides an insight to the importance of shrines.
Cave 7 has a large porch. It has an unusual design of verandah with two porches each supported by heavy sculptured octagonal Elephanta-type columns which leads directly to the four cells and the elaborate shrine. The central shrine houses the usual arrangement of Buddha and Bodhisattvas.
Cave 8 is a small vihara.
Cave 9 a chaitya, dates from the Hinayana period. It is a large liturgical hall, with a monolithic stone stupa carved from the living rock. The vaulted room was once wooden ribbed and leads back from a huge 3.4m arched chaitya sun windows which throws light on the stupa at the rear. Two Buddha figures from the Mahayana period on either side of the entrance are painted.
Cave 10 is said to be the oldest cave dating from 200 BC filled with Buddha's and dominated by an enormous stupa. It is a chaitya hall with an apsidal-ended interior. There are paintings from the Hinayana and Mahyana periods. The 'Shadanta jataka', (1st century BC) a legend about the Buddha, is depicted on the wall in a continuous panel. The indentations in the floor near the left-hand wall were used for mixing paint pigments. Traces of later Buddha figures are seen on the columns and aisle ceilings. The cave also preserves a number of inscriptions.
Cave 11 has a verandah and roof painted with birds and animals, flowers, a hall supported by four heavy pillars and a stone bench running along the right side. The high plinth and parapet of the exterior are decorated with railings. There are five cells and a shrine of a seated Buddha. The Buddha in shrine of cave 11 is one of the earliest images at Ajanta. The important fact about this Buddha is that, it is attached to a stupa. This indicates a compromise between stupa worship and image worship and shows the transition from the earlier Hinayana to the later Mahayana Buddhist phase of worship.
Cave 12 and 13 are small viharas belonging to the earlier phase at Ajanta. Their facades have completely collapsed, exposing their interior square cells with rock-cut beds. The doorways in cave 12 have arched motifs connected by friezes of railing motifs.
Cave 14 was planned on a grand scale, but was never finished and can be missed along with cave 15 which is a long hall with a Buddha carved out of the rock.
Cave 16 is one of the largest and later monasteries at Ajanta. Some of the finest paintings can be seen here. The combined media of painting and sculpture adorn the dark interiors. There is a fine view of the river from here. Two welcoming elephants guard the entrance. The 'Teaching Buddha' is seated on a lion throne teaching the eight fold path. The most interesting feature of cave 16 is the painting of 'The dying princess', representing Sundari, the wife of Buddha's half brother, Nanda, who left her to become a monk on which an art critic commented, "For pathos and sentiment and unmistakable way of telling its story, this picture cannot be surpassed in the history of art". This is one of the finest paintings at Ajanta. Nanda features in several other paintings, including one of his conversion by the Buddha.
toilet scene from Cave 15Cave 17 has the finest as well as the largest number of murals at Ajanta. They include beautiful Visu Vantara Jataka, Cave 17 women flying overhead on the roof, while carved dwarfs support the pillars. On the left of the verandah of cave 17, is a row of amorous couples in varied styles of dress and coiffures above which is a row of seated eight Buddhas including Maitreya, the next Buddha to come under the respective Bodhi tree. One of Ajanta's best known images shows a princess, surrounded by attendants, applying make-up. In one, there is royal procession, while in another an amorous prince plies his lover with wine. In yet another panel the Buddha returns from his enlightenment to his own home to beg from his wife and astonished son. Other favorite paintings include the scene of a woman applying lipstick and of a princess performing sringar. The ceiling of the Cave 17 porch is very elaborate, and beautifully executed.
Cave 18 is basically a cut-through to Cave 19 from Cave 17. It has a little of merit and can be missed.
Cave 19 is one of the two Chaitya halls belonging to the later series with many paintings and sculptures. It is carved with pillars, a monolithic carved symbolic stupa and images of the Buddha which heralded the introduction of the Mahayana phase. There is a standing Buddha on the tall stupa. The stupa itself is crowned with an umbrella that nearly touches the room. This cave is amongst the best surviving examples of a rock cut Chaitya griha.
Cave 20 is a small vihara and has rock-cut beams carved into the ceiling. The animals, fish-tailed figures, and lotuses are all reminders that this ceiling, like the others at the site, depicts a lotus-lake. An antechamber protrudes into the hall. The verandah columns and brackets are delicately carved.
Cave 21 has several large viharas which remain unfinished and has a fallen verandah with flanking chapels. The walls have relief carvings. The porch carving is refined and nearly complete.
Cave 23 is incomplete but the pillars are elaborate, with beautiful yakshi brackets.
Cave 24 would have been the largest vihara at Ajanta if it had been completed but the doorway is beautifully carved. Cave 24 shows how they were constructed-long galleries were cut into the rock, and then the rock between them was broken through.
Cave 26 is a large chaitya hall and two side viharas. The walls carved with scenes of the Buddha's life and miracles, including the temptations by Mara's daughters, but the most striking being a huge figure of 7m long figure of the 'reclining image of the Parinirvana (liberation) Buddha', about to enter Nirvana. Below are figures of his followers mourning his passing away and above are the celestial beings. But almost every trace of its paintings has disappeared.
Cave 27 is virtually a vihara connected to the cave 26 chaitya. There is a great pond in a box canyon 200m upstream from the cave.
These are the wonders of Ajanta. In the days of its glory, hundreds of monks lived and prayed and pondered on the meaning of life and death here. This isolated gorge and the marvels it contains are a tribute to the piety, vision, creativity and sheer determination of the men who chiselled these wonderful caves out of unyielding rock fifteen hundred years ago.
How To Get There
Air
Nearest Airport is 12kms from the city Aurangabad which is 106kms from Ajanta. Flights link Aurangabad to Delhi, Udaipur, Jaipur and Mumbai. Indian Airlines connects Aurangabad with Delhi and Mumbai (388 km) daily. Jet Airways also has regular flights from Mumbai to Aurangabad. Indian Airlines contact: 91-240-485421.Rail
Aurangabad is directly linked to Mumbai and Pune. Jalgaon, the nearest railhead on the Central Railways line, is 59 km from Ajanta. Two trains Tapovan Express and Devgiri Express depart daily from Mumbai to Aurangabad.Road
State buses run from Mumbai, Pune, Ahmednagar, Jalgaon, Shirdi, Nasik, Dhule, Ahmedabad, Hyderabad, Indore and Bijapur to Aurangabad, and from Jalgaon to Ajanta. Maharashtra Tourism Development Corporation (M T D C) operates conducted tours from Mumbai , Jalgaon, Aurangabad etc. One can get bus frequently for Ajanta from Aurangabad.Places To Stay
Aurangabad has a number of hotels. Most hotels are located on Station Rd and near the main bus stand.For accommodation in Aurangabad click here Five star hotels :Taj Residency(ph:0240-2381106-10; Fax:381053; e-mail: Contact Us The Welcomgroup Rama International (Ph:485441; Fax: 484768; e-mail: Contact Us ), Ambassaror Ajanta (Ph:485211-4, Fax:484367; e-mail: Contact Us ), The Meadows (Ph:677412-4; Fax:677416; e-mail: Contact Us ), and Hotel President Park (Ph: 486201-10; Fax:484823; e-mail: Contact Us ) are a little budget hotels.
There is the Ajanta Travellers Lodge at the caves and the M T D C Holiday Resort at Fardapur 5km from the caves apart from regular hotels in nearby areas which offer excellent value.
The Ajanta Caves (75°40’ N; 20°30’ E) are situated at a distance of 107 km north of Aurangabad, the district headquarters. The caves attained the name from a nearby village named Ajanta located about 12 km. These caves were discovered by an Army Officer in the Madras Regiment of the British Army in 1819 during one of his hunting expeditions. Instantly the discovery became very famous and Ajanta attained a very important tourist destination in the world. The caves, famous for its murals, are the finest surviving examples of Indian art, particularly painting.
These caves are excavated in horseshoe shaped bend of rock surface nearly 76 m in height overlooking a narrow stream known as Waghora. The location of this valley provided a calm and serene environment for the Buddhist monks who retreated at these secluded places during the rainy seasons. This retreat also provided them with enough time for furthering their religious pursuits through intellectual discourses for a considerably longer period. The caves were excavated in different periods (circa. 2nd century B.C. to 6th century A.D.) according to the necessity. Each cave was connected to the stream by a flight of steps, which are now almost obliterated, albeit traces of some could be noticed at some places.
In all, total 30 excavations were hewn out of rock which also include an unfinished one. Out of these, five (cave no. 9, 10, 19, 26, and 29) are chaityagrihas and the rest are viharas. In date and style also, these caves can be divided into two broad groups. The earliest excavations belong to the Hinayana phase of Buddhism of which similar examples could also be seen at Bhaja, Kondane, Pitalkhora, Nasik, etc. In total, 5 caves at Ajanta belong to this phase, viz., 9 & 10 which are chaityagrihas and 8, 12, 13, & 15A which are viharas. These caves are datable to the pre-Christian era, the earliest among them being Cave 10 dating from the second century B.C. The object of worship is a stupa here and these caves exhibit the imitation of wooden construction to the extent that the rafters and beams are also sculpted even though they are non-functional.
The addition of new excavations could be noticed again during the period of Vakatakas, the contemporaries of the Imperial Guptas. The caves were caused to be excavated by royal patronage and the feudatories under the Vakatakas as illustrated by the inscriptions found in the caves. Varahadeva, the minister of Vakataka king Harishena (A.D. 475-500) dedicated Cave 16 to the Buddhist Sangha while Cave 17 was the gift of a prince (who subjugated Asmaka) feudatory to the same king. The flurry of activities at Ajanta was between mid 5th century A.D. to mid 6th century A.D. However, Hieun Tsang, the famous Chinese traveller who visited India during the first half of 7th century A.D. has left a vivid and graphic description of the flourishing Buddhist establishment here even though he did not visit the caves. A solitary Rashtrakuta inscription in cave no. 26 indicates its use during 8th 9th centuries A.D. The second phase departs from the earlier one with the introduction of new pattern in layout as well as the centrality of Buddha image, both in sculpture as well as in paintings The world famous paintings at Ajanta also fall into two broad phases. The earliest is noticed in the form of fragmentary specimens in cave nos. 9 & 10, which are datable to second century B.C. The headgear and other ornaments of the images in these paintings resemble the bas-relief sculpture of Sanchi and Bharhut.
The second phase of paintings started around 5th 6th centuries A.D. and continued for the next two centuries. The specimen of these exemplary paintings of Vakataka period could be noticed in cave nos. 1, 2, 16 and 17. The variation in style and execution in these paintings also are noticed, mainly due to different authors of them. A decline in the execution is also noticed in some paintings as indicated by some rigid, mechanical and lifeless figures of Buddha in some later period paintings. The main theme of the paintings is the depiction of various Jataka stories, different incidents associated with the life of Buddha, and the contemporary events and social life also. The ceiling decoration invariably consists of decorative patterns, geometrical as well as floral.
The paintings were executed after elaborate preparation of the rock surface initially. The rock surface was left with chisel marks and grooves so that the layer applied over it can be held in an effective manner. The ground layer consists of a rough layer of ferruginous earth mixed with rock-grit or sand, vegetable fibres, paddy husk, grass and other fibrous material of organic origin on the rough surface of walls and ceilings. A second coat of mud and ferruginous earth mixed with fine rock-powder or sand and fine fibrous vegetable material was applied over the ground surface. Then the surface was finally finished with a thin coat of lime wash. Over this surface, outlines are drawn boldly, then the spaces are filled with requisite colours in different shades and tones to achieve the effect of rounded and plastic volumes. The colours and shades utilised also vary from red and yellow ochre, terra verte, to lime, kaolin, gypsum, lamp black and lapis lazuli. The chief binding material used here was glue. The paintings at Ajanta are not frescoes as they are painted with the aid of a binding agent, whereas in fresco the paintings are executed while the lime wash is still wet which, thereby acts as an intrinsic binding agent.
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 Photo by : jlascar in webshots |
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