Ajanta Caves

Historical Caves. By cruisingindia.com on Oct 28, 2006.

Ajanta Caves Images

Ajanta Caves Architecture

The Ajanta caves consist of around thirty magnificent rock cut caves. Out of these, five are Chaityas or prayer halls and rest are Viharas or monasteries. As a whole, these caves display an affinity to two phases of architectural styles corresponding to two phases in Buddhist history separated by four centuries. The first phase is called Hinayana in which The Buddha is represented symbolically like Stupa, throne, or lotus. The second phase is called Mahayana where his physical form is venerated. In the Hinayana phase include two Chaityas and four Viharas. The Mahayana phase includes 3 chaityas and 11 beautiful viharas.

The legend behind these caves is that they were carved out by the Buddhist monks for two reasons. First they served as the monsoon retreat for the monks who were traveling all over India carrying the message of Buddha. Secondly the spot was strategically located near the trading route connecting India to other countries, and the monks could travel safely with merchants to far-flung places to spread their faith. This fact is proved by the influence of Ajanta art on temples in China, Japan and the Far East.

The Ajanta caves were built over two phases. The early Hinayana phase was followed after a lull of three centuries by the Mahayana phase also called the Vakataka phase after the ruling dynasty. Around 200 monks worked for about 800 years at drawing and chiseling these grand caves till 650 A.D. They served as a hub of activity, prayer, studies and rest for many years till they were abandoned mysteriously for the nearby Ellora caves. They lay hidden under the forest foliage for hundreds of years till the tiger hunting expedition under John Smith discovered them by sheer chance in 1819.

Immediately, the site was excavated and revealed many interesting facts. The rock cutting of the caves appeared to have started from the top and dug toward the floor. The façade doorway was dugout first and then the interior portions like the central hall, antechamber, and cells. Solid columns of stone were left as supports wherever necessary. The layout and planning indicates that the ancient builders had the knowledge of single and multiple beams and the cantilever system of load distribution.

The best architectural designs went into the facades of the Chaitya or temples, which display beautiful ornamentation and carvings. The monasteries called viharas or the quarters of the monks were simple in design with large central halls and residential cells cut into the walls on three sides. The layout of stone beds in the cells shows that 2 or 3 monks occupied each cell. The caves were numbered according to access from entrance. In ancient times each cave was connected to the waterfront of the nearby stream, Waghora by an individual staircase.

The caves are a treasure house of Buddhist art and architecture. Stupendous sculptures as well as exquisite frescoes or wall paintings of variety of topic, design and detail abound on the walls of the cave. The walls and ceilings depict incidents from the life of Lord Buddha and other Buddhist divinities. Among the most interesting paintings are those of the allegorical Jataka tales depicting diverse stories of the previous births of the Lord Buddha as Bodhisattva, a saintly incarnation.

The caves also illustrate the history of the times – court scenes, street scenes, domestic life, and even animal and plant life in fine detail. All sections of the populace are illustrated – kings, slaves, women, and children, interwoven with flowers, birds, plants and beasts. Yakshas (demons), Kinnars (half bird-half human), Gandharvas (divine singers) and Apsaras (heavenly dancers) are also depicted. The physical beauty of human beings is especially exalted in most paintings.

Cave 1 is one of the most celebrated caves of the complex. Every inch of this cave was painted but has worn away down the centuries. Murals of two Bodhisattavas flank the doorway to the antechamber. One holding a thunderbolt is the venerated Mahayana Vajrapani and the other holding a lotus is Bodhisattva Padmapani. The sidewall of the antechamber show two episodes of Buddha’s life – his temptation before enlightenment and a miracle at Sravasti. Above the left porch are friezes of the three signs (a sick man, an old man, and a corpse) that led the Lord Buddha to renounce his material life. In the sanctum is a colossal sculpture of the Buddha in the preaching pose. Murals on the walls of the main hall depict scenes from Jataka tales – stories from Buddha’s previous birth.

Cave 2’s monastery represents the same scheme as cave 1 and is also remarkable for its painted ceiling. The paintings include a variety of designs, scroll work, geometric patterns, miniature Buddhas in seated postures and scenes from Jataka tales. Cave 3 is an unfinished cave. Caves 4 and 6 are Viharas or monasteries of architectural interest.

Caves 9, 10, 12, and 13 are Chaitya halls of the Hinayana period. Cave 9 is one of the earliest caves has a vaulted ceiling originally supported by wooden beams. Cave 10 is the earliest excavation at Ajanta, and dates back to 200 BC. It has beautiful paintings of the Jataka tales. Cave 12 has lost its façade and in cave 13 only front wall portions survive.

Caves 14, 15, and 16 are Viharas belonging to the Mahayana phase. It was during this phase that Ajanta gave the world some of the masterpieces of art. The art of wall painting reached its climax at Ajanta. Cave 16 is one among the finest monasteries at Ajanta. The left side of the hall is the mural depicting conversion of Buddha’s cousin Nanda. Other pictures from the Buddha’s life and that of the Bodhisattvas from Jataka adorn the wall. Its attractions also include ornamented doors, windows, pillars, statues of celestial nymphs and a shrine.

Cave 17 has an elaborately carved entrance and preserves the greatest number of wall paintings including a row of eight Buddhas, pictures of celestial beings, and pictorial representation of various Jatakas. One painting shows Prince Simhala in combat with the ogress of Sri Lanka and another shows the King of Gods flying with his entourage of celestial nymphs. All the paintings exhilarate the viewer with their beauty and grace.

Cave 19 is a perfectly executed rock cut Chaitya. Cave 20 is a small monastery in which the antechamber protrudes into the hall and there are no columns. Caves 21-24 represent the last works at Ajanta. and are at different stages of completion. Cave 26 is a Mahayana prayer hall. The highlight is a large statue of reclining Lord Buddha representing his moment of death. Below him, his followers mourn while above him, celestial beings rejoice.

The paintings in all these caves are what make the caves so special and precious. The ancient artists of Ajanta covered the hard walls with a layer of mud and cow dung mixed with straw or animal hair as a binding medium. This layer was around an inch and a half thick and when dry was smoothed over with a layer of lime plaster. The Ajanta paintings cannot be called frescoes as they were painted on dry wall. Another amazing fact about these paintings is that these were painted with minimal light that entered the dark Ajanta caverns. The paintings are today facing damage from moisture, humidity, bacteria and light and some are flaking away.

Ajanta is today a World Heritage site. It is 100 km from Aurangabad, which is approachable by air. Nearest rail station is Jalgaon. It is open from 09 hours to 17 hours every day except Monday. The toll for Indians above 15 years is Rs. 10 per head. For others above 15 years, charge is U.S. $5 or about Rs. 250. The best time to visit is between September to February.

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