The Buddhist caves of Ajanta

Intro : Ajanta Caves, a fascinating place of ancient art hidden in the rugged hills of Maharashtra. They are UNESCO world
heritage sites carefully carved into the rocky terrain, these remarkable caves have stunned visitors for centuries with
their stunning beauty and cultural significance. The history of these caves dates back to the 2nd century BC. These are
testaments of ancient Indian artistry and spiritual devotion. It's a world of intricate carvings, colorful murals and
architectural wonders that have stood the test of time. A UNESCO World Heritage Site, these caves reveal the secrets of
India's rich heritage and offer a glimpse into the lives and beliefs of our ancestors.

Body:

Cave 1: Was one of the last ones to be sculpted. It was never fully inaugurated for worship as there are no marks left by
butter lamps and garland hooks. The cave is a vihara (monastery), therefore squarish in plan consisting of an open
courtyard and verandah with cells on each side, a central hall sided by 14 cells, a vestibule and Garbha Griha (inner
sanctum). Though located at a less than an ideal position of eastern extremity of the ravine its beautifully executed
paintings, sculptural and architectural motifs make this cave truly fit for a king; for this is the “regal” cave patronized by
Emperor Raja Harisena.

It contains the famed paintings of Bodhisattvas Padmapani and Vajrapani along with a seated figure of Buddha in
dharma chakra Pravar tana mudra in the sanctum. Other notable features include murals that depict Sibi, Mahajanaka,
Jatakas and temptation of Mara.

Cave 2: This vihara cave architecture includes an entrance with chambers on both sides, a hall with pillars bounded by
ten chambers, an antechamber, and a Garbha Griha. The cave encompasses two sub-shrines, with the main shrine
housing a Buddha figure flanked by two yaksha figures named Sankha Nidhi and Padma Nidhi on the left, and two other
figures named Hariti and her consort Panchika on the right. The walls and ceiling of the cave are beautifully adorned
with art depicting the Vidhura pandita and Rura Jatakas, as well as the miracles of Shravasti, Ashtabhaya Avalokitesvara,
and the dream of Maya.

Cave 3: This incomplete monastery consists solely of a pillared verandah, but even in its incomplete state, it exudes a
serene and tranquil vibe. The verandah's pillars stand tall, some adorned with intricate carvings, while the roof provides
shade from the sun.

Cave 4: The monastery located in Ajanta holds the distinction of being the largest one in the region. The front is adorned
with various sculptures of the Bodhisattva, particularly the reliever of eight great perils. The construction of the vihara is
based on a typical pattern, featuring a pillared verandah that leads to adjoining cells. These cells, in turn, lead to a
central hall, which is flanked by another set of cells, antechambers, and finally, a Garbha Griha. One noteworthy
geological feature is the unique impression of a lava flow present on the ceiling.

Cave 5: This excavation remains unfinished and only consists of a porch and an incomplete interior hall. In comparison
to other structures in Ajanta, it lacks any architectural or sculptural embellishments, except for the ornate door frame
featuring female figures of makaras. This edifice has failed to meet the standards of Ajanta's exquisite design and
decoration.

Cave 6: Cave 6 Lower and Cave 6 Upper comprise a double-story building, each housing a Buddha statue. Cave 6 Lower's
original pillared porch no longer exists, and it's thought the upper floor was added later during excavation of the lower
level. The lower cave features well-preserved murals in its shrine and antechamber, depicting Buddha in a range of
emotions. The same is true for the upper cave. This information aims to inform readers who have a knowledgeable
understanding of the subject, written in a neutral style for a general domain.

Cave 7: The vihara comprises of a pair of miniature porticos that are held up with eight-sided columns accompanied by
eight rooms, a central hall that is rather elongated, and the Garbha Griha, which houses the statue of Buddha in a
preaching posture. Widespread carvings can be seen throughout the site, with one panel that showcases a seated
Buddha taking shelter under the Naga Muchalinda, the multi-headed serpent king, standing out prominently.

Cave 8: Located at the lowest level, this cave is one of the earliest monasteries, belonging to the Satvahana phase of
excavation. Due to a landslide, a significant portion of the front structure has been destroyed, leaving few surviving
architectural details. However, it is notable that the sanctum of the cave does not house an image of Buddha.

Cave 9: The paintings here belong to two different eras - the first being at the time of excavation while a repainting of
the cave interior was carried out in the later phase of activity, around the 5th century CE. The cave is flanked by aisles
on either side separated by a row of 23 pillars with the stupa at the far end. Excavated in the 1st century BCE, this is one
of the oldest chaityas (prayer halls) in Ajanta. The ceiling of the cave is vaulted but that of the aisles is flat. Signs of
wooden rafters and beams are on the ceiling, the front and tapered octagonal pillars show an adherence to the
contemporary wooden architectural style. The stupa stands on a high cylindrical base at the center of the apse (curved
wall).

Cave 10: This basically is the oldest chaitya in the cave complex, dating back to the 2nd century BCE. The very central
area is divided from the side aisles by 39 eight-sided pillars, with a stupa situated at the rounded end in a very big way.
The cave's paintings, which mostly come from two separate time periods, literally were very redone later, or so they for
the most part thought. The images show people worshipping the Bodhi tree and generally tell stories from Sama and
Chandana Jatakas in a major way. The darkened surface indicates that this cave was used along with cave 9 over time,
although not continuously in a basically major way. An inscription in Brahmi reveals that the front part of the cave was a
gift from "Vasithiputa Katahadi.

Cave 21: This vihara is made up of equal numbers of cells, a hall with 12 restored pillars, and a verandah with restored
pillars. Four of these twelve cells have porches with pillars. In the garbha griha, Buddha is carved in the dharma chakra
pravartana mudra, and remnants of paintings on the wall depict him addressing a congregation.

Cave 22: This vihara's astylar-shaped central hall is surrounded by four incomplete cells. Buddha is portrayed holding
the pralamba padasana mudra in a carving on the shrine's back wall. There are also painted representations of Maitreya
and Manushi Buddhas in this area.

Cave 23: The intricately carved pillars, pilasters, and Naga (snake) doorkeepers of this incomplete vihara are renowned.
A verandah with cells at each end, an astylar hall with four cells, an antechamber with side cells and the garbha griha
constitute the entire structure.

Cave 24: Another incomplete vihara but the second largest excavation after Cave 4. The garbha griha houses a Buddha
in pralamba padasana mudra but the cells bounding the central hall are unfinished.

Cave 25: An unfinished excavation at a higher level, the astylar central hall is not bound by any cell, also it is devoid of a
garbha griha.
Fun facts:

 Ajanta Caves were carved between the 2nd and 7th centuries CE. They were rediscovered in the 19th century
by a British officer named John Smith.
 The caves contain intricate sculptures and exquisite wall paintings depicting the life of Buddha and various
Buddhist legends.
 These caves were meticulously carved into the rock face of a horseshoe-shaped cliff overlooking the Waghora
River.
 Ajanta consists of around 30 rock-cut caves, including prayer halls, monasteries, and chaitya halls (cave
temples).
 The caves are recognized as a UNESCO World Heritage Site, preserving their historical and cultural significance.
 The cave paintings showcase vibrant colors and intricate detailing, using techniques that were advanced for
their time.
 The art and architecture of Ajanta influenced later Buddhist cave sites across India.
 The caves exhibit distinct architectural and artistic styles, reflecting different periods and dynasties.
 The caves represent both Hinayana and Mahayana Buddhist traditions.
 Ajanta's location in the Sahyadri Hills adds to its charm, making it a captivating blend of natural beauty and
human craftsmanship.

The Journey:

The journey to Ajanta Caves begins by arriving in Aurangabad, the nearest major city in Maharashtra, India. From there,
a 2-3 hour road trip takes you to the caves' vicinity. Upon arrival, you purchase an entrance ticket and ascend some
steps to the cave complex nestled within a horse-shoe shaped gorge. Exploring the numbered caves on foot reveals
their captivating sculptures, paintings, and architecture. Hiring a guide is advisable to gain insights into the historical
significance. Comfortable shoes are a must as you walk between the caves, and be aware that photography might have
restrictions in certain areas. Facilities like restrooms and small shops are available. After the exploration, you can return
to Aurangabad or opt to stay overnight for a more leisurely visit.

Conclusion :

In summary, the Ajanta Buddhist Caves are a testament to the rich cultural and artistic heritage of ancient India. Carved
into the cliff face, these magnificent caves are a testament to the dedication and skill of the Buddhist monks who
painstakingly created them.

About 30 Ajanta Caves date from the 2nd century BC to several centuries. Each cave is adorned with intricate carvings,
colorful murals, and detailed carvings depicting scenes from the life of Buddha, Jataka stories, and various Buddhist
deities.

These caves served as centers of spiritual practice, meditation, and religious education. They were also places of
communal gatherings and ceremonies that fostered a sense of community and religious devotion among Buddhist
monks and followers.

The Ajanta Caves were hidden from the world for centuries until they were rediscovered in the 19th century. Since then,
they have fascinated scientists, historians and art lovers around the world.

Conservation and restoration efforts have allowed us to appreciate the extraordinary beauty and historical importance
of these caves. The Ajanta Buddhist Caves recall the enduring legacy of Indian Buddhism with their timeless beauty and
deep religious symbolism.
They continue to inspire visitors, offer glimpses into the spiritual and artistic achievements of ancient civilizations, and
serve as a link between the past and the present.

Sources:

Worldhistory.org

Tutorialspoint.com

Tourismatfinest.org

Ajanta, a brief history and guide by Walter M. Spink