Introduction to Ajanta cave art.

Presentation for foundation students

Ajanta caves.

Hidden away in the hills of Northwest India, some 200 miles from the busy
streets of Mumbai, emerge a magnificent jewel of art and religion: the Ajanta
Caves. There are about 30 rock-cut Buddhist cave monuments which date from
the 2nd century BCE to about 480 or 650 CE. The Ajanta cave paintings and
rock cut sculptures are described as among the finest surviving examples of an-
cient Indian art, particularly expressive painting that present emotion through
gesture, pose and form. According to UNESCO, these are masterpieces of Bud-
dhist religious art that influenced Indian art that followed. The caves were built
in two phases, the first group starting around the 2nd century BC, while the sec-
ond group of caves built around 400–650 AD according to older accounts, or all
in a brief period of 460 to 480 according to Walter M. Spink.
Mural paintings survive from both the earlier and later groups of caves. Several
fragments of murals preserved from the earlier caves (Caves 9 and 11) are ef-
fectively unique survivals of ancient painting in India from this period, and
“show that by Sātavāhana times, if not earlier, the Indian painter had mastered
an easy and fluent naturalistic style, dealing with large groups of people in a
manner comparable to the reliefs of the Sāñcī toraņa crossbars”. Four of the
later caves have large and relatively well-preserved mural paintings which,
states James Harle, “have come to represent Indian mural painting to the non-
specialist”, and represent “the great glories not only of Gupta but of all Indian
art”. They fall into two stylistic groups, with the most famous in Caves 16 and
17, and apparently later paintings in Caves 1 and 2. The Ajanta frescos are clas-
sical paintings and the work of confident artists, without cliches, rich and full.
They are luxurious, sensuous and celebrate physical beauty, aspects that early
Western observers felt were shockingly out of place in these caves presumed to
be meant for religious worship and ascetic monastic life.

The main colours used were red ochre, yellow ochre, brown ochre, lamp black,
white and lapis lazuli which was imported from Northern India, central Asia
and Persia. The green was made by mixing this lapis lazuli with Indian yellow
ochre. In the pictorial cycles, all the characters are bright and multi-coloured but
are never repeated, a fundamental concept in Indian art. Ceilings, walls and pi-
lasters are all covered with overlapping figures, brought to life by the artists
with strong and contrasting colours. The painting techniques at Ajanta are simi-
lar to European fresco technique. The primary difference is that the layer of
plaster was dry when it was painted. First, a rough plaster of clay, cow dung,
and rice husks were pressed on to the rough cave walls. This was then coated
with lime juice in order to create a smooth working surface.

Alavokitesvara

This painting can be found to the left on the main shrine. It depicts one of the
most beloved bodhisattvas, Avalokitesvara. The term “bodhisattva” refers to a
person that has been awakened by the Buddhist spirit. According to Mahayana
doctrine, Alavokitesvara postponed his ascension into Buddhahood until he as-
sisted every being in achieving Nirvana. Avalokitesvara takes the largest num-
bers of forms across Asia. Originally, a masculine form, Avalokitesvara is also
known as the feminine Guanyin in China, and Kuan Yin in Japan. In the paint-
ing, his tan body, darkened only by the locks of curly hair, is delicate and ele-
gant. He is adorned with pearls, amythyst, and other attributes of traditional In-
dian jewelry. On his head sits a magnificent crown, which at some point was
most likely colored in extreme detail, but over time has faded. His eyes are low-
ered in a meditative state. His calm, spiritual face sets the tone and mood of the
room. In his right hand, he holds a lotus blossom, which may represent his spiri-
tual awakening.

An Exploration of the Incredible

Ajanta Caves
 Architect Buddhist Monks
Date c. 2nd century BCE – 480 CE
Function Monasteries and worship halls
Size (ha) 8,242
Ajanta, Aurangabad district, Maha-
Location rashtra, India

Ancient monasteries and halls of worship featuring various Buddhist traditions

carved into a 75-meter rock wall constitute the Ajanta caves in India. The Ajanta
cave paintings also portray the previous lives and rebirths of the Buddha, along
with sculptures of deities, and illustrated stories from the Jatakamala. Tradi-
tionally, the monks used the caves of Ajanta during the monsoon season as re-
treats. They were also used to accommodate traveling pilgrims and merchants.
Ancient documents suggest that India may once have been full of colorful wall
artworks, yet many did not survive the ravages of time, however, the Ajanta
cave murals are believed to be the largest surviving corpus of wall paintings
from ancient India. They were lost to time and covered by the jungle until Cap-
tain John Smith, a British colonial officer accidentally discovered them while on
a tiger hunting expedition.

A view of Cave 26, which is a Buddhist “Chaitya Griha” or prayer hall. Ajanta Caves in
Maharashtra (2013);
The History of the Ajanta Caves
Most historians agree that the Ajanta caves were adorned in two different
phases, the first of which occurred sometime in the 2nd century BCE, and the
other around 480 CE. There are 36 various foundations that have been identi-
fied, with the first 30 discovered being assigned a number. The numbering of
the Ajanta Caves was purely a labeling method used for convenience and does
not denote any chronological order. Any cave that was discovered after the first
30 were found was identified by adding a suffix of a letter of the alphabet next
to the number of the neighboring cave.

So, for example, if a new cave was discovered between cave 15

and cave 16, it would be given the label 15A.

The Satavahana Period

The oldest caves of Ajanta are caves number 9 to 13 as well as cave 15A. The
Ajanta cave murals from this period portray stories from the Jakatas texts.
There are still differing opinions as to when exactly these caves were created,
with some scholars believing that they were created under the Hindu Satava-
hana dynasty’s patronage sometime between 100 BCE and 100 CE, while others
argue that they were more likely created under the Mauryan Empire’s patron-
age sometime between 300 BCE and 100 BCE. This period emphasized the
stupa, and there are no examples of figurative sculptures. Although no further
development took place for many years, the site was used regularly by Buddhist
pilgrims.
Ajanta Cave 1 Mahajanaka Jataka mural (2015); Jean-Pierre Dalbéra, CC BY 2.0, via
Wikimedia Commons

The Vākāṭaka Period

It would not be until the 5th century that the second phase of construction at
the caves of Ajanta commenced. It was long accepted that the Ajanta Caves
were created over an extended period of time that lasted from the 4th to the
6th centuries. However, contemporary studies have suggested that construc-
tion actually took place over a relatively short time span ranging from 460 to
480 BCE. While these dates are still highly contested by many scholars, many
authors of prominent Indian art publications have adopted this date in their
books.

The works produced in this phase are attributed to Buddhism

traditions known as Mahāyāna.
Caves 1 to 8, 11, and 14 through 29 were created during this phase of the caves
of Ajanta. Some of the older Ajanta cave murals were also repainted during this
phase, as well as the creation of the most elaborate Ajanta cave paintings. Con-
struction of the caves would eventually cease around 480 CE, but there are ac-
counts of it still being used through the centuries, such as Xuanzang’s 7th-cen-
tury description of the caves as well as the presence of medieval-era graffiti, yet
they were no longer used by the Buddhists.
Ajanta Caves 14 (2016); Anupamg, CC BY-SA 4.0, via Wikimedia Commons

The Colonial Era

Although already well known to the locals, the caves were first seen by Western
eyes on the 28th of April 1819, when a colonial British officer named John Smith
was led to the location by a shepherd while hunting for tigers. He then pro-
ceeded to ask villagers from a nearby settlement to bring torches, axes, and
spears to cut down the entangled vegetation that covered the entrance to the
cave. Without any consideration for the value of the works, he proceeded to
scratch the date and his name on one of the bodhisattva paintings. Today one
would have to tilt their head upwards to see these markings as the cave floor
was filled with about 5 feet of rubble by the time he found the cave.

Due to the impressive and beautiful Ajanta cave paintings, the

striking architecture, and the exotic setting, the complex of
caves was world-renowned within a few decades.

The Bombay Cave Temple Commission was established by the Royal Asiatic So-
ciety in 1848, for the purpose of cleaning, documenting, and copying the Ajanta
Cave murals. During this period, the site was located in the state of Hyderabad,
which was outside of British colonial territory and was controlled by a prince.
Hyderabad’s last Nizam commissioned various people to restore the Ajanta cave
paintings, convert the site into a museum, and build a road that would trans-
port tourists to the Ajanta Caves at a price. However, due to gross mismanage-
ment, the caves experienced even worse deterioration, and it would only be in
the post-Independence years that the state eventually constructed the facilities,
integrated better management systems, and facilitated the necessary transport
infrastructure.

Plan of ajanta cave architecture.

Outer view of Ajanta Caves in Maharashtra (2019); Prithiviraj Kiridarane, CC BY-SA 4.0,
via Wikimedia Commons
Two professors were brought in from Italy to undertake restoration efforts.
However, these efforts would also ultimately prove fruitless after the Ajanta
cave paintings began to deteriorate after the years of neglect following the
restoration. Since being listed as a UNESCO World Heritage site in 1983, the
Ajanta Caves have grown to become the region’s most popular tourist destina-
tion, with the thousands of visitors causing even further deterioration. Plans to
create replicas of certain Ajanta cave murals at the complex’s entrance were put
forward in 2012, in a bid to prevent any further damage from the heavy traffic
normally experienced by these caves. These replicas would also allow visitors to
view the works in the best light possible, as the original works were produced in
extremely dimly-lit areas of the caves.

The Sites, Monasteries, and Worship

Halls of the Ajanta Caves
The Ajanta caves were cut out of a cliff created by multiple volcanic eruptions
near the end of the Cretaceous period. Because the rocks were horizontally lay-
ered and of varying quality, the artists had to change their carving methods and
designs in certain sections. In the ensuing centuries, this variability of the rock
quality has also caused cracks and collapses.

Pillared hall of ancient Buddhist temple. Ajanta Caves, India (2007); © Vyacheslav Argen-
berg / http://www.vascoplanet.com/, CC BY 4.0, via Wikimedia Commons

Sites
The sculptors most likely excavated the rocks as well as carved the exquisite de-
signs of pillars, roofs, and idols. A grandiose entrance to the site was carved,
featuring elephants on either side and a protective Naga god. The first-period
caves appear to have been funded by a variety of distinct patrons in order to
gain merit, with many inscriptions marking the contribution of particular pieces
of a given cave. The latter caves were sponsored as a whole by a single patron
among the local kings or court nobility, for merit in Buddhist afterlife doctrines.

Smaller shrines and statues were added between the caves by

those wishing to attain merit once the main donor, Harisena,
passed away.
Monasteries
Most of the caves are symmetrically square vihara halls. Smaller square dormi-
tory chambers carved into the walls are connected to each vihara hall. In the
second period, a shrine was erected at the back of each cave, centering on a
massive figure of the Buddha, together with exquisitely sculpted reliefs and
deities beside him, all sculpted out of the surrounding natural rock. The earlier
viharas are considerably more basic and do not have shrines.

Ajanta Caves, India (2007); © Vyacheslav Argenberg / http://www.vascoplanet.com/, CC

BY 4.0, via Wikimedia Commons

Worship Halls
The Worship Hall is another type of main hall architecture found at the Ajanta
Caves with a smaller rectangular shape and high arched ceilings. The oldest of
these worship halls were created in the 2nd to 1st centuries BCE, while the most
recent ones were constructed in the late 5th century CE, and their design is sim-
ilar to that of Christian churches, although without the crossing. Caves 9 and 10
from the early era and Caves 19 and 26 from the later period make up the four
completed worship halls, and they all feature the same high ceilings with a nave
leading to the stupa.
The stupa in two later halls is preceded by a massive relief
sculpture of the Buddha.

The Ajanta Cave Paintings

The most prominent subject matter of the Ajanta cave murals is the visual nar-
ration of the Jataka tales. These tales document the various incarnations of the
Buddha. These stories encompass ancient cultural lore and morals that can also
be found in Jain and Hindu texts. Through his various incarnations in both hu-
man and animal form, the Buddha made specific sacrifices to attain enlighten-
ment, and this is why the Jataka tales are regarded as so significant. Today,
Ajanta cave murals created from both periods still exist.

Ajanta Cave 1 ceiling foreign dignitary (2019); Ministry of Culture, Public domain, via
Wikimedia Commons
Several pieces of Ajanta cave murals recovered from the older caves are essen-
tially rare remnants of ancient Indian painting from this era and prove that by
the Satavahana period, if not before, the Indian artists had perfected an effort-
less and fluid realistic style. Four of the newer caves include enormous and rea-
sonably well-preserved Ajanta cave paintings that have come to characterize In-
dian mural painting to non-specialists, and also to reflect the finest achieve-
ments of not only Gupta-era art but of all Indian art. The Ajanta cave murals are
the product of confident and adept artists, devoid of clichés and rich in content.

They are opulent, seductive, and glorify physical beauty, all of

which early Western onlookers found starkly out of place in
these chambers thought to be intended for prayer and disci-
plined monastic life.

All of the Ajanta cave paintings seem to be the product of artists who were sup-
ported by discerning connoisseurs and wealthy patrons. The art of painting was
widely practiced and valued throughout the Gupta era, and unlike most Indian
mural art, the compositions were not set out in horizontal bands but rather por-
trayed huge scenes radiating out from a single individual or group in the cen-
ter.

Copies of the Ajanta Cave Paintings

Since their rediscovery, the artworks have deteriorated severely, and a number
of 19th-century reproductions and sketches are required for a comprehensive
understanding of the paintings. Several efforts to replicate the Ajanta cave mu-
rals for Japanese and European museums began in the 19th century, however
several of these works were later lost in natural disasters and fires. The Royal
Asiatic Society, for instance, commissioned Major Robert Gill, a painter and
army officer, to produce reproductions of the artworks in the caves of Ajanta in
1846. Gill labored on his copies at the location for about two decades. He repro-
duced 27 big pieces of paintings, but all but four were lost in a fire at London’s
Crystal Palace in 1866 when they were on exhibit.
Cave 1 painting, Ajanta, Maharashtra (1854) by Robert Gill; Gill, Robert, born 1804 – died
1875, Public domain,
He subsequently returned to the site and carried on creating copies until his
passing in 1875. In 1872, the Bombay Presidency contracted John Griffiths to
collaborate with his students to create reproductions of Ajanta cave paintings
for export to England. They collaborated on this for 13 years and created over
300 paintings, many of which were presented at the Imperial Institute on Exhi-
bition Road in London. However, another fire in 1885 damaged over 100 of the
artworks stored in a part of the museum. A conservation attempt was started
on nearly half of them in 2006, although Griffith and his pupils had coated sev-
eral of the works with cheap varnish to make them easier to view, which has
contributed to the degradation of the originals.

Lady Herringham and a team of Calcutta School of Art students,

which included the future Indian Modernist artist Nandalal Bose,
created a second series of reproductions between 1909 and
1911.

These replicas, more than the previous ones, attempted to fill in the gaps and
damage to emulate the original condition instead of documenting the condition
of the paintings as they existed after deteriorating for centuries. Another effort
to reproduce the paintings was undertaken by the Japanese painter Arai Kamp,
who was brought to India by Rabindranath Tagore to demonstrate Japanese
painting methods. From 1916 to 1918, he worked on producing duplicates us-
ing tracings on Japanese paper, and his works were kept at Tokyo Imperial Uni-
versity until the archives were destroyed in the 1923 Great Kant earthquake.

Significance of the Caves of Ajanta Artworks

The Ajanta cave murals provide insight into the culture, lifestyle, and religion of
India’s native inhabitants between the 2nd and 5th centuries BCE. Various re-
searchers have analyzed them separately from the perspectives of history, gen-
der studies, sociology, and South Asian anthropology. The clothing, jewels, gen-
der relations, and social activities reflect the royal and elite lifestyle in some
works, and in others, the attire of the ordinary man, rishi, and monks. The
Ajanta cave paintings juxtapose the spiritual lifestyle of the monks who had
given up all earthly belongings with the sensuous life of individuals who were
labeled materialistic, opulent, emblems of money, and high fashion.
Bodhisattva as the lotus-bearer Padmapani was a favored form
of Avalokiteshvara, the embodiment of Buddhist compassion.
His identifiers are the lotus (padma) held in his left hand, and
the small figure of the Buddha Amitabha atop his head. In this
early representation, he sits in royal ease, with one leg pendant
and a hand poised as if gesturing contemplation. The antelope
skin over his shoulder is a reminder
This extraordinary mural painting survives from early medieval
India, preserved in the interior of the rock-cut Buddhist
monastery of Ajanta. It provides the earliest visual evidence of
elaborate crowns being worn as signifiers of both princely and
divine status. The crowns depicted are the antecedents of those
used in Buddhist ritual today by the Vajracharya priests in
Nepal.

Entrance of the chaitya, Cave no. 9 in Ajanta Caves, India (2010)

Many Ajanta cave murals depict images from markets, festivals, procession
jesters, castles, and performing art stages. These wall paintings are similar in
theme and detail to those discovered at Sanchi, Bharhut, Ellora, Amaravati,
Badami, Aihole, and other Indian ancient sites. The Ajanta caves provide a visual
and descriptive understanding of ancient Indian artistic traditions and culture,
notably those relating to the Gupta Empire. The early colonial era characteriza-
tion of the Ajanta caves was mostly orientalist and negative, contradicting Victo-
rian expectations and stereotypes. The subjects and artworks of the Ajanta
caves perplexed 19th-century Orientalists.

They couldn’t understand it because they lacked the Asian cul-

tural legacy and framework that sees nothing strange in the
combination of dancing girls and monks, as they had no knowl-
edge of Jataka Tales or comparable Indian stories.

They inserted their own beliefs and preconceptions, labeling it something de-
void of rationality and logic, a meaningless crude portrayal of aristocracy and
foreigners infused with spirituality and sensuality. The impressions and concep-
tions of the Ajanta Caves in the 19th century were shaped by notions and pre-
conceptions of the colonial mentality, and they only saw what they wanted to
see.

The Depiction of Foreigners in the Ajanta Cave

Paintings
The paintings in the Ajanta Caves are an important source of information about
ancient India, particularly in regard to India’s relationships with other civiliza-
tions during the time most of the murals were created. The Ajanta cave paint-
ings reflect Buddhism’s cosmopolitan nature, which welcomed individuals of
various ethnicities, including Persian, Greek, Pahlavi, Saka, Kushan, and Huna.
The murals are full of such foreigners, which has occasionally led to misinter-
pretations. The so-called “Persian Embassy Scene” appears in Cave 1 depicting
figures with foreign facial features or clothing. A 19th-century architectural his-
torian, James Fergusson, determined that this scenario corresponds to the Per-
sian ambassador to the palace of the Hindu Chalukya monarch Pulakeshin II in
625 CE.
Ajanta cave 17, some characters proposed as foreigners (2019); Ministry of Culture, Pub-
lic domain, via Wikimedia Commons
Another interpretation suggests that the mural depicts a Hindu diplomat visit-
ing Persian king Khusrau II in approximately 625 CE. These hypotheses by colo-
nial British era art historians were responsible for incorrectly dating this art-
work to the 7th century, when in fact it represents a partially completed
Harisena-era artwork of a Jataka tale with the depiction of trade between India
and remote territories such as the Sassanian near East, which was frequent by
the 5th century. Such murals depict a flourishing and cosmopolitan culture en-
gaged in international trade in 5th-century India. The utilization of the blue lapis
lazuli color to represent foreigners in the Ajanta murals, which must have been
brought from Iran or Afghanistan, is further proof of international trade.

The Ajanta cave murals are regarded as some of the most sig-
nificant ancient Indian artworks to still exist in the modern era.
They were produced in two distinct phases, the second of which
focused on the various incarnations of the Buddha. They were
only discovered by the Western world in 1819 when a shepherd
led a British officer to one of the cave entrances. Since then,
there were multiple initiatives to preserve the Ajanta cave mu-
rals; however, many of them did nothing more than accelerate
the rate of deterioration of these unique and ancient artworks.

CAVE 1
The squarish (35.7 x 27.6 m) monastery, consists of a hall sided by 14 cells, vestibule, sanctum
sanctorum, an open verandah (19.5 X 2.82 X 4.1 m) flanked by a cell on each side and a open
courtyard with two cells on the sides, datable to 4th – 5th centuries A.D. Importantly it represents
a seated Buddha in dharmacakrapravartana mudra (preaching attitude) in the sanctum and world
fame painted depiction of Padmapani and Vajrapani. Besides it depicts Sibi, Samkhapala, Maha-
janaka, Maha-ummagga, Champeyya Jatakas and the scene depicting temptation of Mara.
CAVE 2
This monastery (35.7 X 21.6 m) consists of cells, sanctum santorum and two pillared sub-shrines
datable to first of sixth century A.D. 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.
Extensively painted cave is famous for the ceiling paintings. The Jatakas painted here are Vidhu-
rapandita & Ruru and miracle of Sravasti; Ashtabhaya Avalokitesvara; the dream of Maya.
CAVE 3
This is an incomplete monastery (10.08 X 8.78 m) 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 (35.08 X 27.65
m). The door frame is exquisitely sculpted flanking to the right is carved Bodhisattva as reliever
of Eight Great Perils. The cave was once painted, traces of which can be noticed. The ceiling of
the hall preserves a unique geological feature of a lava flow.
CAVE 5
This monastery (10.32 X 16.8 m) is an unfinished one. However, the richly carved door frame,
and female figures on makaras are important ones.
CAVE 6
This is a double storeyed 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 sancto-
rum in the upper storey. Buddha in preaching attitude is housed in both the shrines. The depic-
tion of Miracle of Sravasti and Temptation of Mara are the important paintings. Sculptural depic-
tion of Buddha in various attitudes and postures can also be noticed here.
CAVE 7
This monastery (15.55 X 31.25 m) consists of a sanctum sanctorum, an oblong open hall with
two small porticos supported by heavy octagonal pillars and eight cells. Buddha in preaching atti-
tude 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 (15.24 X 24.64 m) at Ajanta, located at the lowest level and per -
haps earliest among the monasteries. Major portion of the frontage has been swept away by a
landslide.
CAVE 9
This apsidal chaityagriha (18.24 X 8.04 m) is datable to second century B.C. and belongs to the
Hinayana phase of Buddhism. 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 pil-
lars and a stupa, the object of worship.
The chaityagriha exhibits reproduction of wooden architectural styles, in the form of inward taper-
ing octagonal pillars, evidence of fixing wooden beams & rafters, etc. The chaitya was in use dur -
ing later period also as indicated by the sculptures of Buddha on the façade and side walls facing
the court. Inside the chaitya is seen two layers of paintings, the earlier dating back to the second
half of 1st century B.C. and the alter to 5th – 6th centuries A.D.
CAVE 10
In April 1819, John Smith, a British Army Officer noticed the huge arch of this cave from the view
point which ultimately led to the discovery of Ajanta Caves. This cave is the earliest chaityagriha
at Ajanta. A Brahmi inscription on the façade dated to the 2nd century B.C. reads ‘Vasithiputa
Katahadi’.
The cave (30.5 X 12.2 m) consists of a large central hall, nave flanked by two aisles (pradik-
shana) 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 Bud-
dha figures in various poses mainly over the pillars.
CAVE 11
This monastery (19.87 X 17.35 m) 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. Buddha in
preaching attitude is housed in the sanctum against an unfinished stupa. Few paintings that
available here depicts Bodhisattvas, figures of Buddha, etc.
CAVE 12
This Hinayana monastery consists of a hall (14.9 X 17.82 m) the front wall is completely col -
lapsed sided by twelve cells arranged on three sides. An inscription on the back wall of the
monastery records the gift of this cave by one merchant Ghanamadada and palaeographically
datable to 2nd – 1st century B.C. perhaps slightly later than Cave 10. The cell frontage are deco -
rated with chaitya window motifs above the door opening.
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 (13.43 X 19.28 m) 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 (19.62 X 15.98 m) 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.
CAVE 17
A Brahmi inscription found here records the excavation of this cave by a feudatory prince under
Vakataka king Harishena. This monastery (34.5 X 25.63 m) consists of a spacious hall sur-
rounded by 17 cells on three sides, a vestibule and a sanctum containing the image of Buddha.
The cave houses some of the well preserved paintings of the Vakataka age that includes Ves-
santara Jataka (right of door), a huge and gigantic wheel representing the ‘Wheel of Life’; flying
apsara (to left of door), subjugation of Nalagiri (a wild elephant) by Buddha at Rajagriha, Buddha
preaching to a congregation. The Jatakas depicted here are Chhaddanta, Mahakapi (in two ver-
sions), Hasti, Hamsa, Vessantara, Maha-Sutasoma, Sarabha-miga, Machchha, Mati-posaka,
Sama, Mahisa, Valahass, Sibi, Ruru and Nigrodhamiga.
CAVE 18
This consists of a rectangular excavation (3.38 X 11.66 m) leading into another cell. The hall has
two pillars with moulded bases and octagonal shafts.
CAVE 19
This chaityagriha (16.05 X 7.09 m) 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 Yak-
sha 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 (16.2 X 17.91 m) cells, sanctum sanctorum and a pillared
verandah datable between A. D. 450 and 525. A Brahmi inscription in the verandah records the
gift of the mandapa by one Upendra. 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 (28.56 X 28.03 m) 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 (12.72 X 11.58 m) consists of an astylar hall four unfinished cells, sanctum sanc-
torum 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 (28.32 X 22.52 m) and consists of an astylar hall, sanctum sanc-
torum, antechamber & side cells and a pillared verandah. The cave is known for the rich decora -
tion of pillars and pilasters and the naga doorkeepers.
CAVE 24
This is an incomplete monastery (29.3 X 29.3 m) and second largest excavation at Ajanta after
Cave 4. The plan consists of a hall with pillared verandah and sanctum sanctorum. A chapel with
pillared porch is excavated outside the verandah. The sanctum houses a seated Buddha in
pralamba-padasana.
CAVE 25
This monastery (11.37 X 12.24 m) 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 (25.34 X 11.52 m) and
more elaborately and exquisitely provided with sculpted figures. An inscription (A.D. 450 – 525)
found on the wall of the front verandah records the gift of this chaityagriha by a monk Buddhab-
hadra, a friend of Bhavviraja, a minister of the king of Asmaka (Vidarbha). The chaityagriha con -
sists of a hall, side aisles (pradikshana) and a rock-cut stupa front by an image of Buddha. The
façade, the inner pillars, the triforium (between pillars and roof arch), aisles side walls are exten-
sively carved with images and decorative designs. However, the most striking and prominent im-
age is that of Mahaparinirvana of Buddha on the right aisle wall and the assault of Mara during
Buddha’s penance adorns the same wall.
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 sancto-
rum. 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
This is an unfinished chaityagriha (22.8 X 12.84 m) in its first stage of excavation and located at
the highest level, located between Caves 20 and 21.
Cave 19, Ajanta, Deccan
Sankarshan Mukhopadhyay (CC BY-SA)

Approximately 67 miles (107 km) to the north of Aurangabad in the Indhyadri range of West-
ern Ghats lie the caves of Ajanta. The 30 caves, famous for their early Buddhist temple ar-
chitecture and many delicately drawn murals, are located in a 76 m high, horseshoe-shaped
escarpment overlooking the Waghora (tiger) River. The river originates from a picturesque
waterfall called sat kund (seven leaps) just off the last cave. It serves as a potent reminder of
the natural forces that over untold eons have shaped the basaltic layers of the Deccan plateau.
Also a part of the Gautala Wildlife Sanctuary, this primordial landscape provides a fitting
background to one of the finest collections of paintings from India's antiquity.
Accorded UNESCO World Heritage site status in 1983 CE, the ancient name of the site is un-
traceable today. Its current name is derived from a neighbouring village, the local pronuncia-
tion of which is Ajintha. It would be of interest to note, that Ajita is the colloquial name of
Maitreya Buddha.

Timeline & Patronage

The period of excavation (used as synonymous to the carving of the caves) can be divided
into two broad phases. The earliest caves (Cave 8, 9, 10, 12, 13, 15A), belonging to the Hi-
nayana phase of Buddhism, can be roughly traced back to the 2nd century BCE, with its pe-
riod of activity continuing to around the 1st century CE during the rule of Satavahana Dy-
nasty (2nd century BCE – 2nd century CE). The later phase of activities, between 5th and 6th
century CE, largely took place under the patronage of the Vakataka dynasts (3rd century –
5th century CE). The Vakatakas were contemporaries of the Gupta Empire. The greatest
flourish of this phase took place during the brief but remarkable reign of the Vakataka Em-
peror, Harisena (460 CE - 477 CE). By then the “mythologising tendency of Indian thought”
(Coomaraswamy) had already given birth to Mahayana Buddhism from more austere Hi-
nayana practices.
 AJANTA HAS 30 CAVES - FIVE
ARE CHAITYA(PRAYER HALL) & THE REST
ARE VIHARA (MONASTERY).
The excavation and creation of the caves seem to have been a more community effort in the
earlier phase. Group efforts contributed to the building of various parts of the caves, from the
façades to single cells. Later, however, construction was marked by sponsorship from influ-
ential patrons and local feudatories. Inscriptions from Caves 4, 16, 17, 20, and 26 indicate
that often multiple caves were constructed under the benefaction of one patron; examples
would include local Risika king Upendragupta, Harisena's Prime Minister Varahadeva, and
the Asmaka monk Buddhabhadra. Royal patronage did not, however, restrict its accessibility
to an exclusive clique. Thus, despite being a Shaivaite emperor (at least at the time of acces-
sion to throne), Harisena presided over the execution of some of the finest depictions of Bud-
dhist legends.
Stupa in Ajanta
Jean-Pierre Dalbéra (CC BY)

Location & Layout

While the peaceful surroundings may be self-explanatory of the initial choice of a Buddhist
monastic establishment, the caves also lay close to the ancient trade routes and capital of the
Satavahana Empire, Pratishthana (currently Paithan, 130 km south of Ajanta). The rule was
benevolent, commerce flourished and the cities prospered. Buddhism was already popular
and Buddhist bhikshu (monks) travelled across the Deccan plateau as emissaries following
Mauryan Emperor Ashoka's (304 – 232 BCE) energetic patronage.
The caves of Ajanta were not excavated in isolation, but a range of similar activities resulted
in a number of cave complexes across the Western Ghats. Some of these include the caves of
Karli, Bhaja, Kanheri, Junnar, Nasik, Kondana, and Pitalkhora. It is quite possible that the in-
spiration for such rock-cut caves came from a set of similar structures in Barabar and the Na-
garjuni Hills located in the Jehanabad district, 24 km north of Gaya. These were built during
the reign of Ashoka and his grandson Dasarath (232 – 224 BCE), who succeeded him to the
throne.
The permanence of rock-cut architecture compared to the prevailing free standing wooden
structures and locational advantage of such dwellings were powerful arguments in favour of
these experiments. The cave complex in Ajanta comprises 30 caves. Of these, five (9, 10, 19,
26, and 29) are chaitya (prayer hall with a stupa at the far end) and the rest are vi-
hara (monastery). The caves are numbered according to their relative arrangement along the
horseshoe-bend in an anti-clockwise manner from the outer end and not as per the time of ex-
cavation or purpose.
Mural, Ajanta Caves
Jean-Pierre Dalbéra (CC BY)

Paintings of Ajanta
The Ajanta murals, owing to their inherent fragility and an abundance of destructive natural
and maleficent human agents, have suffered considerable damage, often irrevocably so. De-
spite the depredations, the excellent craftsmanship (specifically in Caves 1, 2, 16, 17) shines
through the defiled and blackened surfaces even today. The narratives flow unrestricted from
one cave wall to the next with effortless flexibility. Deep understanding of nature and pro-
found compassion infuse each stroke and every gesture with ardour and tenderness that pro-
duces an indelible impression in the heart and mind of the beholder. It is a world of graceful
movements and “serene self-possession” (Coomaraswamy) far removed from personal art of
modern time. Brought to life by nameless artists, the murals trace the atman (soul) beyond
verisimilitude and transient emotions, mirroring the collective social psyche.
It would be erroneous to consider that all paintings were rendered uniformly. For there are
variations of style and work of minor hands comingle with chef-d'œuvre. And yet the poise,
poignant faces, and expressive gestures bear infinite significance. This includes those hand
signals known as mudras which are core to yoga, meditation, and Indian dance drama.
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The art of Ajanta is that of a school. It is important to remember that pursuit of art for art's
sake did not constitute the sole aim and search for beauty was not an end in itself. The great
religious art of Ajanta through all its sincerity and refinement acts as crucial markers towards
the journey within.

Painting Technique
The rugged surface of the cave walls was made further uneven to provide a firm grip to the
covering plaster made of ground ferruginous earth, rock grit, sand, vegetable fibres, paddy
husk, and other fibrous materials of organic origin. A second layer of mud, ferruginous earth
mixed with pulverised rock powder or sand and fine vegetable fibre helped to cover the
whole interior of the cave. The surface was then treated with a thin coat of limewash over
which pigments were applied. Except for the black which was obtained from kohl, all other
pigments were of mineral origin. Terra verda or glauconite for green, lapis lazuli for blue,
kaolin, gypsum or lime were of frequent use.
One of the peculiarities of the murals in Ajanta is that the power of expression depends
chiefly on the swiftness of its outlines. The bold, sweeping brushstrokes portray an intimacy
and sensitiveness that, even though the original lustrous colours have all but faded, reveal
these to be works of adept minds and assured hands.
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Jataka Image in Ajanta
Jean-Pierre Dalbéra (CC BY-NC-SA)

Painting Subjects
Jataka tales, consisting of narratives related to different incarnations of Buddha, form an
abundant wellspring for a magnificent project of the scale of Ajanta. The quaint humour, dis-
tinguished gentility and earnestness which characterise this lore was a part of an oral tradition
and followed irrespective of creed or allegiance. Their extensive adoption in Ajanta demon-
strates an already wide acceptance among priests and populace alike.
As Buddhism evolved from earlier Hinayana to Mahayana faith, the depictions and paintings
transformed. In Caves 9 and 10 the Enlightened One was represented only symbolically by
the Bodhi tree, paduka (wooden footwear), wheel etc. and not pictorially. In the later phase of
the development, deeply influenced by Mahayana Buddhism, murals recruit a venerable pan-
theon of celestial beings including Kinnara, Vidyadhara, and Gandharva among others.
Ajanta then appropriately presents us with a cornucopia of beliefs, intellectual atmos-
phere, culture, institutions, economy, adventures, and the ways of the masses and nobility
over half a millennium and more.

Sculptures of Ajanta
The parallels between the murals on cave walls and sculptures and sculptural motifs that
adorn Ajanta are manifold. Both undergo a remarkable transformation during different phases
of development, both draw inspiration from magnanimous Jataka tales, and both are equally
eloquent through expressive gestures or lack thereof. Buddha as the seated yogi is the epit-
ome of repose and stability and Buddha in abhaya mudra encourages dignified self-assur-
ance. Besides seated forms, standing poses of no less variation and significance abound, for
such subtle movements of hands and limbs communicate the impelling thought itself much
more than the subsequent performance or act. So the Indian imager made extensive use of
these gracious movements for a powerful impact.
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Hinayana Buddhism with its rationalistic philosophy and express prohibition of pictorial de-
pictions of Buddha could not have inspired a metaphysical art comparable to the grandeur of
the later phase. So, beyond symbolic motifs and stupa (of Caves 9, 10), little sculptural activ-
ity is observed in the caves excavated in the earlier phase.

Buddha Sculpture in Ajanta

Jean-Pierre Dalbéra (CC BY)

Sculptures in Ajanta were both plastered and painted though any trace of the latter is invisible
to the naked eye today. The garbha griha (sanctum sanctorum) of each viharacontains al-
most invariably in seated posture the figure of Buddha in dharma chakra pravartana mu-
dra (Buddha in preaching attitude delivering his discourse). The colossal figure of Buddha in
Cave 26 or the statues of Buddha that flank the entrance to Cave 19 showcase versatility in
scale and narrative structure which is equally supported by delicate features and delineated
forms. The façade of Cave 19 with its intricately carved pillars and pilasters, decorative mo-
tifs on rows of chaitya arches and other structural peculiarities are wonderful examples of the
unison of sculpture and architecture into a harmonious whole.
Architecture of Ajanta
Much like the murals and sculptures, architectural elements too evolved continuously under
differing influences and motivations. In as much as Ajanta was an application of hereditary
knowledge, it was also informed by a process of constant discovery and learning, incorpora-
tion of new ideas and forms from other sites such as Bagh, and an ever-evolving artistic vo-
cabulary. The architecture of the cave complex is unique because it reflects the ever-improv-
ing proficiency of the craftsmen, educated in an architectural style already highly developed
but unfamiliar with the rock-cut medium. Ajanta in its full flourish, therefore, represents a
successful integration of the splendour of contemporary structures with the peculiarities and
potentials of the basaltic medium.
As previously alluded to, there are five chaityas in the cave complex with the rest being vi-
hara. A chaitya is apsidal or rectangular in form with aisles on either side of a nave with a
barrel roof. Each aisle is separated by a row of pillars. The nave contains a stupa, the object
of worship, at the terminal end. The early chaityas meticulously imitated contemporary
wooden structures as can be seen in the vaulted roof decorations and pillars.
In contrast to the early stupas of Caves 9 & 10, those built at later dates such as in Caves 19
& 26 have an image of Buddha sculpted on the front face. Another distinguishing feature of
Cave 10 is its giant single-arched entrance and relatively unadorned façade which gives way
to a smaller doorway with a window positioned above. Skilfully decorated façades and pil-
lared porticoes testify to a definite shift in architectural activities from early austerity.

Ajanta Architecture
Jean-Pierre Dalbéra (CC BY-NC-SA)

A vihara, otherwise called sangharama, was a monastic abode consisting of a central hall
with adjoining residential cells. Caves 1 & 17 may be taken as the most representative exam-
ple of a vihara in full development. A pillared porch or verandah with elegant embellish-
ments leads to a commodious central hall, somewhat squarish in plan with cells for monks
hewn into its sides. Further on, an antechamber connects to the garbha griha containing an
image of Buddha. Thus, it can be said that architectural development proceeded from early
sober, even restrained, astylar form to ambitious, richly ornamented pillared viharas.
Natural weathering agents and scarp retreat in the order of 5-7 m over the centuries have left
their devastating impact on the frontispiece of many of the caves and managed to eliminate
all of the stairs (except some below Cave 17) that connected each cave to the stream below.

Fall of Ajanta
The sudden discontinuation of activities in Ajanta inevitably coincides with the un-
timely death of Vakataka Emperor Harisena. But the seeds for disruption were sown much
earlier. The provinces of Asmaka to the south of Ajanta, Anupa (where Bagh caves lie) to the
north, and Risika, which included Ajanta, were inherited domains of Harisena; he did not
have to conquer them. This explains the fact that within a few of years of his accession to the
throne excavation work started at the site under the patronage of different vassals. It is not
hard to surmise that the situation was relatively peaceful for the neighbouring rulers, despite
having a belligerent history, as they came together to sponsor the projects at the same site.
This, however, did not last for long. By early 469 CE, Asmaka started a fierce battle with
Risika lords. All work at Ajanta had stopped by 472 CE, and this suspension continued until
late 474 CE when the Asmaka emerged victorious from the battle. From then on until the
sudden death of Harisena in late 477 CE, much effort was afoot. With the passing away of the
emperor, the golden years of Ajanta, too, came to an abrupt end; as chaos reigned supreme
under an inept successor, violent conflicts broke out over regional supremacy, and the
Vakataka Empire imploded spectacularly.
By 480 CE all excavations had ceased, most of the patrons had either been dethroned or dis-
possessed from their seat of power. From the sounds of chiselling and chanting, life had al-
most returned to a primaeval silence interrupted only by the chirping of birds or chattering of
monkeys. After all, the later phase of growth at Ajanta was driven by a dozen or even less
courtly patrons hoping to carve out a monument of magnificent proportions and beauty. Un-
like the earlier era where it was a community effort that laid the foundation of Ajanta, this
second outpour was bound to dry up with the change of fortunes of its handful of donors. In
the end, what instigated its rapid expansion also forced its sudden abandonment.
After a gap of many centuries, Ajanta is again thriving with travellers, scholars, and devotees
alike from across different continents. Though it no longer serves the purpose for which it
was originally built, it has something to offer anyone who can spend a few moments in quiet
contemplation indoors. In conclusion, the following words of renowned German archaeolo-
gist Ernst Walter Andrae (1875-1956 CE), to be found in Keramik im Dienste der
Weisheit, can be used to aptly describe the significance of the art of Ajanta: "It is the business
of art to grasp the primordial truth, to make the inaudible audible, to enunciate the primordial
word, to reproduce the primordial images – or it is not art."