The Ajanta Caves (1983) Maharashtra :
The UNESCO Heritage site of Ajanta caves is located in Aurangabad, Maharashtra. These caves were excavated as a part of the first wave of cave architecture in India. It became an important center for Buddhist religion and art under the enlightened patronage of the Vakataka rulers. However, it is important to note that the excavations of these caves happened in different phases in different time periods beginning in the 2nd Century.
The aerial view of the site looks like a horseshoe. This site was abandoned during the 6th-7th centuries and was rediscovered only during the British period by an Army officer named John Smith (1819).
Ajanta Caves - A brief summary
Buddhism is mainly divided into two groups Hinyana and Mahayana. The Ajanta Caves perfectly display the fine line of transfer between these two Buddhist sects. The Hinyana sect did not use to revere any deity, and this group worship stupas and the similar rock forms to embody Buddha. On the other hand, Mahayana sect used the idols of different god and goddess they believed in. It is an interesting factor that the Ajanta Caves incorporate both the Prayer Halls (known as Chaitya) and monasteries. These caves also include both the types of Hinyana and Mahayana art, architecture, painting and scriptures.
The caves representing the Hinyana are cave number 8, 9, 10, 12, 13 and 15, while the caves related to Mahayana sect are numbered as 1, 2, 16, 17, 19, 26. Among the Mahayana caves, 19 and 26 are the prayer halls.
Cave no 1(Mahayana)
Cave number 1 and 2 display some fascinating paintings that depict Jataka Tales (Jatak Katha). Another common illustration of wonderful sculpture is the idol of Buddha delivering sermons in sitting position. Cave no. 10 also depicts Jatak Katha, and also brags some beautiful images of Buddha. The caves number 16 and 17 startlingly exemplify the peerless architecture through the images of the child and youth time of Lord Buddha, Jatak Katha, Saraswati Tales, etc.
Cave number-16
The caves numbering from 20 to 25 were used for residence in olden days. The Caves from 1 to 8, except number 4 and 7, and then from 14 to 17, are the monasteries.
The Rock-Cut Architecture
The intricate carvings, roofs, pillars, stupas, assembly halls, etc. from the distinct essence of the architecture of Ajanta Caves. There are twenty-nine caves in Ajanta with Chaityas and Viharas as the two dominant types. Chaityas house the stupas and served as the centers for worship while Viharas served as the monastery for study and learning.
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 ancient Indian art, particularly expressive painting that present emotion through gesture, pose and form. According to UNESCO, these are masterpieces of Buddhist 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 second 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 effectively 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 classical 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 pilasters are all covered with overlapping figures, brought to life by the artists with strong and contrasting colours. The painting techniques at Ajanta are similar 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.
The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. A number of attempts to copy the Ajanta paintings began in the 19th century for European and Japanese museums. Some of these works have later been lost in natural and fire disasters. In 1846 for example, Major Robert Gill, an Army officer from Madras presidency. and a painter, was appointed by the Royal Asiatic society to make copies of the frescos on the cave walls Gill worked on his painting at the site from 1844 to 1863. He made 27 copies of large sections of murals, but four were destroyed in a fire at the crystal palace in London in 1866, where they were on display.Gill returned to the site, and recommenced his labours, replicating the murals until his death in 1875.
The paintings in the Ajanta caves predominantly narrate the Jataka tales. These are Buddhist legends describing the previous births of the Buddha. These fables embed ancient morals and cultural lores that are also found in the fables and legends of Hindu and Jain texts. The Jataka tales are exemplified through the life example and sacrifices that the Buddha made in hundreds of his past incarnations, where he is depicted as having been reborn as an animal or human.
The other type of main hall architecture is the narrower rectangular plan with high arched ceiling type chaitya - griha, literally, "the house of stupa". This hall is longitudinally divided into a nave and two narrower side aisles separated by a symmetrical row of pillars, with a stupa in the apse. The stupa is surrounded by pillars and concentric walking space for circumambulation.
The first of Ajanta caves were started in about the first century B.C. that included the impressive chaitya hall, cave 10 and simple associated vihara cave 12 all done by true community effort The repainting in old Hinayana cave no 9 &10 was made in but the plan was never realized except by painting some more areas of the cave .
This picture Showing View of Hinayana Caves 9 & inner view of Cave 13.
In course of time when two chaitya hall caves 19 and 26 were still being roughed up, the controlling officials have decided that the two caitya halls should be oriented to the solstice’s, cave 19 to winter solstices and cave 26 to summer. The sun rays should coincide with the axis of cave. Such a significant astrological alignment must have meaning and importance to the planners. This was all very well had the excavation of two caves not already been started at a quite different angle. In fact, the cutting of both the caves had proceeded to the point that new required adjustment could not be effected. rock cut monasteries at both Ajanta and Bagh was developed by their respective patrons in Vakataka period 3-4 A.D. Undertaking Ajanta excavation some 400 to 500 years after the Hinayana phase must have involved advance planning as well as supporting patrons, monks, workers, who must have come from number of different parts of the Vakataka empire.It seems clear that when such a major cave was started, the delegation of architects (now the excavators) and members of Buddhist sangha must have surveyed the site, deciding upon the best and appropriate location. In the case of vast cave 26 complexes, patronized by Asmaka, they were careful to choose the The two impressive caitya hall of cave 19&26 conceived as intended ceremonial centers for the site. The former (cave 19) is referred as “Vakataka” area including the entire excavation upto cave 20. The other (cave 26) is described as “Asmaka” area starting with cave 21 to 28. The Asmaka were in fact feudatories of the Vakataka emperor.
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