Introduction

The Buddhist Caves in Ajanta are approximately 30 rock-cut Buddhist cave monuments dating

from the 2nd century BCE to about 480 CE in the Aurangabad district of Maharashtra state in India.[1]
[note 1]
 The caves include paintings and rock-cut sculptures described as among the finest surviving
examples of ancient Indian art, particularly expressive paintings that present emotions through
gesture, pose and form.[3][4][5]
They are universally regarded as masterpieces of Buddhist religious art. The caves were built in two
phases, the first starting around the 2nd century BCE and the second occurring from 400 to 650 CE,
according to older accounts, or in a brief period of 460–480 CE according to later scholarship.[6] The
site is a protected monument in the care of the Archaeological Survey of India,[7] and since 1983, the
Ajanta Caves have been a UNESCO World Heritage Site.

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 Hinayana phase of Buddhism, can be roughly traced back to the 2nd century
BCE, with its period of activity continuing to around the 1st century CE during the rule
of Satavahana Dynasty (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 greatest flourish of this phase
took place during the brief but remarkable reign of the Vakataka Emperor, Harisena
(460 CE - 477 CE).

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. Despite the depredations, the excellent craftsmanship (specifically in
Caves 1, 2, 16, 17) shines through the defiled and blackened surfaces even today.

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.
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.

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.

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 epitome of repose and stability and Buddha in abhaya mudra
encourages dignified self-assurance. 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.
The garbha griha (sanctum sanctorum) of each  vihara contains almost invariably in seated
posture the figure of Buddha in dharma chakra pravartana mudra (Buddha in preaching attitude
delivering his discourse).. The façade of Cave 19 with its intricately carved pillars and pilasters,
decorative motifs 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.

Cave complex

The architecture of the cave complex is unique because it reflects the ever-improving
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.

Chaitya

As previously alluded to, there are five chaityas in the cave complex with the rest
being vihara. 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.

Vihara

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
example of a vihara in full development. A pillared porch or verandah with elegant
embellishments 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.

Conclusion
The Ajanta cave arts are a window into the culture, society and religiosity of the native population of
India between the 2nd century BCE and 5th century CE. The Ajanta artworks provide a contrast
between the spiritual life of monks who had given up all materialistic possessions versus the sensual
life of those it considered materialistic, luxurious, symbols of wealth, leisurely and high
fashion. According to Indian historian Haroon Khan Sherwani: "The paintings at Ajanta clearly
demonstrate the cosmopolitan character of Buddhism, which opened its way to men of all races,
Greek, Persian, Saka, Pahlava, Kushan and Huna".[279] 

Bibliography
o https://www.worldhistory.org/Ajanta/
o https://en.wikipedia.org/wiki/Ajanta_Caves

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