Ajanta Caves
In the Indian art tradition, rock-cut cave architecture holds a significant place. They grow from humble beginnings at the Barabar Caves to magnificent caves at Ajanta and Ellora. Both caves have been designated as UNESCO World Heritage Sites.
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Location |
Ajanta Caves Near Aurangabad district of Maharashtra |
Elora Caves North West of Aurangabad district of Maharashtra |
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Timeline |
Constructed between 2nd Century BC to 6th Century AD |
Constructed between 6th Century AD to 10th Century AD |
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Number of caves |
30 caves with one incomplete so sometimes considered 29. 4 chaityas and rest viharas. |
100 caves with 34 open for public. Caves dedicated to Hinduism are more followed by Buddhist caves. Cave 10 is the only Chaitya while rest are viharas. |
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Religions |
Entirely Buddhism |
Hinduism, Buddhism and Jainism |
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Patronage |
Satavahanas, Vakatakas and Chalukyas |
Rashtrakutas, Kalachuris, Chalukyas and the Yadavas |
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Chronology of Construction |
2nd-1st Century BC – Hinayana Phase 5th – 6th Century AD – Mahayana Phase |
550 – 600 AD – Hindu Phase 600 – 730 AD – Buddhist Phase 730 – 950 AD – Hindu and Jain Phase |
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Major attraction |
Paintings, architecture and sculptures |
Architecture and sculptures. Especially the Kailashnath temple. |
History of ajanta caves
The Ajanta Caves are a group of 30 Buddhist caves in Maharashtra's Aurangabad district. UNESCO has designated this site as a World Heritage Site. Both Theravada (Hinayana) and Mahayana Buddhist traditions are included. The Ajanta caves house some of India's finest Buddhist art masterpieces.
The first Ajanta caves were carved out of a horseshoe-shaped cliff along the Waghora River in the 2nd century BC. For nearly nine centuries, Buddhist monks used them as prayer halls (chaitya grihas) and monasteries (viharas).
Five caves (numbers 9, 10, 19, 26, and 29) have been excavated as chaitya grihas (prayer halls), while the rest are viharas (monasteries).
These caves can be divided into two broad phases based on their age and style.
- Phase I (from the 2nd to the 1st centuries BCE) – The first excavations, which date from the Hinayana (Theravada) period of Buddhism, were carried out by the Satavahanas. A stupa is the object of worship here. This era is represented by caves 9, 10, 12, 13, and 15A.
- Phase II (5th to 6th centuries AD) – These excavations are a major contribution of the Vakatakas and Chalukyas, and they belong to the Mahayana Buddhist phase.
Discovery of ajanta caves
Captain Smith of the British Army was on a private tiger hunting expedition in the summer of 1819 when he discovered the caves. Captain John Smith is credited with being the first European to discover the Ajanta Caves.
He inscribed “John Smith, 28th Cavalry, and 28th April, 1819” on a pillar with a knife, just like other ancient inscriptions in the cave. Captain Smith could never have imagined that he would be remembered for good in that he rediscovered the Ajanta caves and for bad in that he was the first to vandalise the paintings with his own inscription two hundred years later.
contribution of satvahanas
Because the state followed a broad and tolerant policy toward all religions, the Satavahana period was favourable to Buddhism. The state had a positive attitude toward both Hinayana and Mahayana Buddhism. Buddhism spread throughout the country. However, Hinayana religion dominated the early Satavahana period, while Mahayana cult dominated the later period.
The Satavahana period is represented by the earliest caves at Ajanta. During their reign, the Chaitya Caves 8, 9, and 10 and the Vihara Caves 12 and 13 were built. The traders who travelled the trade route also contributed to the cave construction.
Cave 8 is an unfinished monastery in Ajanta, located on the lowest level and possibly the oldest of the monasteries. The frontage has been swept away in large parts. It was most likely a small monastery with two cells on each end of the hall and two on each side of the sanctum sanctorum.
Cave 9 is one of the oldest Chaityas in Ajanta, dating from the 1st century B.C. and belonging to the Hinayana Buddhist faith. On the outside, it's rectangular, but the twenty-three pillars on the inside are apsidal, dividing it into a nave, an apse, and aisles.
The Hinayana monastery, Cave 12, is one of the oldest hewn caves, dating back to around 150 B.C. Its entire front wall has vanished. The cave was given to the monastery by a merchant named Ghanamadada, according to an inscription on the back wall.
Cave 13 is a small monastery that dates back to the first century A.D. On three sides of the hall, there are seven cells, each with two stone beds and raised stone pillows. Because the cells are so small, it's likely that they were only used as dormitories (layanagriha).
Contribution of the vakata kings
Due to Vakataka Kings' royal patronage, the Mahayana Caves at Ajanta are the finest and best. If the Gupta Kings are credited with bringing the Golden Age to India's central region, the Vakatakas brought it to the Deccan. The Vakataka dynasty was South India's most illustrious dynasty.
Interpretations of ajanta paintings
The Ajanta Paintings are among the best examples of ancient Indian art that have survived. These are masterpieces of Buddhist religious art that influenced Indian art, according to UNESCO. Ajanta's paintings are murals rather than frescoes.
The Buddha and other images from the Ajanta caves exhibit high qualities, such as Buddha's face, which exudes serenity and great dignity. All of the carved sculptures have very expressive faces. They are compassionate and loving. Naga figures, Hariti and Panchika figures, Buddha's Mahaparinirvana, Buddha's temptation scene, and so on are among the most important.
Cave 26's temptation scene is extremely well-done. Each figure in this panel is expertly sculpted. In the same cave, Buddha's Mahaparinirvana is magnificent.
Buildings with two and three stories can also be seen in Ajanta paintings. Palaces, balconies, courtrooms, and bedrooms provide insight into royal life at the time. The three-dimensional effect in painting demonstrates the artist's keen observation and perfection.
A monastery in the Sibi Jataka, painted in cave 17, depicts perfect depth in the construction of a wooden structure, as well as a group of ladies and gentlemen standing in the hut. The panel of Vidhurapandita Jataka painted on the right wall of cave 2 exemplifies this effect. In this panel, a couple is depicted standing in a gallery that looks like it belongs in a royal palace. The ladies in discussion are shown above the gallery.