AJANTA CAVES
Ajanta Caves
Ajanta Caves (100 kilometers northeast of Ellora, 104 kilometers from Aurangabad and 52 kilometers from Jalgaon Railway Station) is a monastic site housing the richest collection of early Indian painting in a set of 32 man-made caves overlooking a wide horseshoe-shaped gorge. Designated by UNESCO as a World Heritage Site in 1983, the caves features hundred of paintings and murals made between 200 B.C. and A.D. 650, which are considered to be some of the finest Indian painting and the most important Buddhist art in the world. The first phase of construction was in thr first century B.C. to the A.D. 2nd century; the second phase was produced in the A.D. the fifth and sixth centuries.
The caves are divided into two chronological phases, the early Buddhist caves (2nd century B.C. to A.D. 1st century) and the Mahayana caves (A.D. 5th century). Since Ajanta is located on the ancient trade route of Dakshinapatha, the early phase of Ajanta was funded mostly by traders. The second phase received patronage from the Vakatakas. Stories of these donors are inscribed and painted. The narrative murals about Lord Buddha, Avadana stories of Bodhisattva, Jataka stories and panels based on Mahayana themes from Vipulya Sutras are extremely interesting. The monasteries were in operation until 8th century but were lost and forgotten until 1819.
According to UNESCO: “The first Buddhist cave monuments at Ajanta date from the 2nd and 1st centuries B.C. During the Gupta period (5th and 6th centuries A.D.), many more richly decorated caves were added to the original group. The paintings and sculptures of Ajanta, considered masterpieces of Buddhist religious art, have had a considerable artistic influence. The style of Ajanta has exerted a considerable influence in India and elsewhere, extending, in particular, to Java. With its two groups of monuments corresponding to two important moments in Indian history, the Ajanta cave ensemble bears exceptional testimony to the evolution of Indian art, as well as to the determining role of the Buddhist community, intellectual and religious foyers, schools and reception centers in the India of the Gupta and their immediate successors." [Source: UNESCO World Heritage Site website]
The caves were formed through the erosive action of nearby rivers and enlarged with chisels and hammers by Buddhist monks into residences, temples and schools. Each cave is adorned with statuary. Many contain wall paintings that record episodes in Buddha's life and major Buddhist events. The paintings are mostly frescoes made on a layer of plaster rather than directly on the cave wall. The caves are also home to India's largest Buddha statue. Hundreds of thousands of people visit the caves every year. Some of the caves are open to visitors. Most are closed to help in their preservation.
The caves were rediscovered in 1819 by British soldiers hunting tigers in the area. Most people reach it from Aurangabad, a provincial city east of Mumbai. Its lies in an area of cotton fields, soil black and cattle with tinkling bells and horns painted in bright blues and reds, The caves are located in a gorge above the Waghora River.
Ajanta Caves Layout and Architecture
The rock-hewn caves at Ajanta are either chaityas (shrine), chapels or prayer halls, or viharas (monasteries) or residential cells. Caves 19, 26 and 29 are chaityas of the Mahayana period and all the other caves are viharas. Tom O’Neill wrote in National Geographic: “More than two dozen man-made caves perforate the sweep of a dark basaltic rock face, their facades unexpectedly grand with pillars and statuary, reminiscent of the sculpted tombs and temples in the ancient city of Petra in Jordan. The lavishness of the Ajanta complex reflects its royal patronage; most of the cave temples were carved during the reign of a king named Harishena, who ruled a large swath of central India in the mid-fifth century A.D." [Source: Tom O’Neill, National Geographic, January 2008]
Ajanta Caves Buddha from the AD 3rd to 4th centuries
According to UNESCO: “The caves are cut into the volcanic lava of the Deccan in the forest ravines of the Sahyadri Hills and are set in beautiful sylvan surroundings. These magnificent caves containing carvings that depict the life of Buddha, and their carvings and sculptures are considered to be the beginning of classical Indian art. The 29 caves were excavated beginning around 200 BC, but they were abandoned in AD 650 in favor of Ellora. Five of the caves were temples and 24 were monasteries, thought to have been occupied by some 200 monks and artisans. The Ajanta Caves were gradually forgotten until their 'rediscovery' by a British tiger-hunting party in 1819. [Source: UNESCO World Heritage Site website ]
The Ajanta site comprises thirty caves cut into the side of a cliff which rises above a meander in the Waghora River. Today the caves are reached by a road which runs along a terrace mid-way up the cliff, but each cave was once linked by a stairway to the edge of the water. This is a Buddhist community, comprising five sanctuaries or Chaitya-grihas (caves 9, 10, 19, 26 and 29) and monastic complex sangharamas or viharas. A first group of caves was created in the 2nd century BC: the chaitya-grihas open into the rock wall by doorways surmounted by a horse-shoe shaped bay. The ground plan is a basilical one: piers separate the principal nave from the side aisles which join in the apsis to permit the ritual circumambulation behind the (commemorative monument). This rupestral architecture scrupulously reproduces the forms and elements visible in wooden constructions.
A second group of caves was created at a later date, the 5th and 6th centuries AD, during the Gupta and post-Gupta periods. These caves were excavated during the supremacy of the Vakatakas and Guptas. According to inscriptions, Varahadeva, the minister of the Vakataka king, Harishena (c. AD 475-500), dedicated Cave 16 to the Buddhist sangha while Cave 17 was the gift of the prince, a feudatory. An inscription records that the Buddha image in Cave 4 was the gift of some Abhayanandi who hailed from Mathura.
The earlier architectural formulas were re-employed but treated in an infinitely richer and more ample manner. The decoration attained, at this time, an unequalled splendour: the statuary is numerous (it was already permissible to represent Buddha as a human; these representations are found both on the facades and in the interior). Finally, the wall painting, profuse and sensitive, constitutes, no doubt, the most striking artistic achievement of Ajanta.
Under the impulse of the Gupta dynasty, Indian art in effect reached its apogee. The Ajanta Caves are generally decorated with painted or sculpted figures of supple form and classic balance with which the name of the dynasty has remained synonymous. The refined lightness of the decoration, the balance of the compositions, the marvellous beauty of the feminine figures place the paintings of Ajanta among the major achievements of the Gupta and post-Gupta style and confer on them the ranking of a masterpiece of universal pictorial art.
Ajanta Caves Paintings
Ajanta displays the Gandhara and Mathura schools of art from the Kushana period; the Sarnath school of art from the Gupta period; and the Amaravati school of art from the late Satavahana and Ikshvaku periods. Caves 9 and 10 are chaityas, which contain the earliest known remnants of paintings in India.
"Longing for Sexual Intercourse"
The paintings are mostly frescoes and murals made using a tempura technique on a layer of plaster rather than directly on the cave wall. The cave paintings were made by applying mud plaster in two coats on the rock walls. The first was used to fill in the pores of the rough rocks. The plaster for this layer was made of rice husks and other organic materials mixed with mud and covered by sieved gypsum. The second coat was lime plaster that could be painted on. The outlines of the paintings were made with red ocher and filled in with brown, deep red and black. The pigments came mostly from local minerals, many local volcanic rocks, with the exception of bright blues which came from lapiz lazuli from Afghanistan.
The painting at Ajanta Caves offer insight into the clothing, body ornamentation and court life of the period in which they were painted. Apsara are outfit with jewels, fine clothes and scarves and turbans in rich colors and details. Ajanta painters, according to National Geographic, excelled at depicting small details and capturing inner tranquility and outer beauty, one of the distinguishing features of the finest Indian art. It is clear, for example, when a king's hair was wet.
The paintings are also known for their fluid yet formal lines, sweeping brush strokes, and subtle color gradations. Later painting feature bold color washes and shadowing and color used to highlight facial expressions and create a sense of depth. Ajanta murals belong to a tradition that influenced temple art across India and Southeast Asia for the next thousand years.
Subjects of the Ajanta Caves Paintings
Many caves contain wall paintings that record episodes in Buddha's life and major Buddhist events. including his previous earthly experiences and the Jataka tales. In a vivid scene from one the Buddha's past lives, King Mahajanaka, having renounced his worldly goods, takes a ritual bath before donning the robe of a monk. Among the best works are a 1,500-year-old work showing a princess getting the bad news that her husband has renounced his crown to covert to Buddhism. The Bodhisattva Padmapani is an expressive work of a male figure with large, soulful eyes and lotus flower in one hand. In this superb portrait, Padmapani, the Bearer of the Lotus, is regarded as a depiction of an ideal spiritual state.
In a mural in Cave 10, fifty elephants are painted in different poses. Another mural depicts a famous parable of a monkey covering the eyes of a water buffalo. The buffalo is Buddha from a pervious life. He puts up with the monkeys antics. The monkey then does the same thing a normal buffalo and is trampled to death.
Tom O’Neill wrote in National Geographic: “Most of the figures inhabit crowded, intricately composed murals that tell stories, called jatakas, from the many past lives of the Buddha. Others depict incidents from the life of the historical Buddha, an Indian prince who lived a thousand years earlier. The paintings serve as illustrated classics, fifth-century style, meant to awaken devotion and heighten spiritual awareness through the act of seeing. For most visitors today, the tales are arcane. Yet the sensation of watching the images emerge from the dark in all their grace and beauty links then and now. A vision of paradise never grows old. [Source: Tom O’Neill, National Geographic, January 2008]
Ajanta Caves Painting Style
reconstruction of an Ajanta painting
Tom O’Neill wrote in National Geographic: “Enchantment has many faces, but few compare with one painted 1,500 years ago on a cave wall in India. To see it, the eyes must first adjust to darkness. Soon it becomes impossible to turn away. The figure is of a bare-chested man; he wears a tall crown and holds a delicate lotus flower in one hand. His torso is curved as if swaying to music only he hears. His face is tranquility itself, eyes half-closed, lips pursed in a faint smile, his whole being absorbed in the sweetest dream possible. [Source: Tom O’Neill, National Geographic, January 2008 /]
“This face has radiated serenity since the fifth century, when Buddhist monks inhabited a set of remarkable hand-cut cave temples built for them at Ajanta in central India. The name of the beatific figure is Bodhisattva Padmapani, a Buddhist deity who represents infinite compassion. Appearing near the entrance of one of the shrines, Padmapani stands as guardian, offering a vision of peace to all who enter. “The painting is a mirror," whispered my guide, Indian photographer and filmmaker Benoy Behl. “It shows us the divine part of ourselves." /
“Developments in sacred imagery fed the artistic blossoming at Ajanta. This was the era when the figure of the Buddha achieved an idealized, perfected human form. At first, artists had relied on symbols—footprints, a tree, an empty throne—to represent the historical Buddha. But followers wanted a more personal focus for their devotion. The likeness invented on the Indian subcontinent in the first centuries A.D. That this flowering took place simultaneously within both religions is not surprising. The essential tenets of Buddhism and Hinduism arose from similar ideas, best described in the Upanishads, a set of Hindu treatises set down in India largely between the eighth and fourth centuries B.C." /
Ajanta Caves Paintings Preservation
Because of the decline of Buddhism in India the caves were left unattended for centuries. Bats occupied many of the caves. Their excrement and associated bacteria has damaged many paintings and caused other problems. Soot from fires and insects eating the animal and vegetable glues have also taken their toll. But in some ways neglect has helped preserve the paintings. If the caves were constantly used it is likely that many of the paintings would be more damaged than they are now.
The walls were restored in 1920 by an Italian team that applied shellac and varnish over the paintings. Later the varnish changed color. There are also concerns that the varnish prevents moisture from evaporating. Researchers are now trying to figure out the best way to remove the shellac. Recent efforts to clean the surfaces have improved their condition. Some paintings are currently being restored. The restoration work involves delicately applying solvents on the painting to remove soot form fires and bat guano. The work is painstakingly slow: one square meter takes several months. Some restoration work is being done with the help of loans from Japan.
On some levels it is hard for visitors to appreciate the beauty of the paintings, which were made with crude paints and tools. Many of the best paintings are off limits to tourists. The colors and scenes of others, according to National Geographic, often appears flat, drained of vitality. The Archeological Survey of India bans the use off artificial light, fearing damage to the paintings. In Some caves light bulbs have been replaced with optic fibers to reduce heat, Humidity from visitors is a problem. There has been some discussion of installing an air conditioning system.
exterior of Ajanta Caves
Ellora Caves
Ellora (two kilometers east of the town of Ellora,32 kilometers northwest of Aurangabad) is a sickle-shaped hill known for its temples and monasteries and natural caves enlarged with chisels and hammers. Created between A.D. 550 and 1000, Ellora is considered one of the finest examples of rock-cut architecture. Unlike Ajanta, the carvings here are unconventional, freely departing from austerity of early Indian art. There are clear indications of Buddhist, Hindu and Jain influences. Of the 34 caves, 12 are Buddhist, 17 Hindu and 5 Jain, and date back to the Rashtrakuta dynasty, about 1,500 years ago. They were declared a UNESCO World Heritage Site in 1983, and are now maintained by the Archaeological Survey of India (ASI).
According to UNESCO: “The Ellora Caves not only bear witness to three great religions (Buddhism, Brahminism and Jainism) but they also illustrate the spirit of tolerance, characteristic of ancient India, which permitted these three religions to establish their sanctuaries and their communities in a single place, which thus served to reinforce its universal value. The caves, with their uninterrupted sequence of from 600 to 1,000 monuments, bring to life again the civilization of ancient India. [Source: UNESCO World Heritage Site website]
“There are 34 caves (13 Buddhist, 16 Hindu and 5 Jain caves). They come in two types viharas (monasteries) and chaityas (halls of worship) and appear to have been made from the top down by monks who cut away the basalt and chiseled out entrances, columns and chambers and then created sculptures on the walls and ceiling. Some contain friezes. The caves face west. which means that visiting them in the afternoon offers the best light.
“These 34 monasteries and temples, extending over more than 2 kilometers, were dug side by side in the wall of a high basalt cliff... brings the civilization of ancient India to life. Not only is the Ellora complex a unique artistic creation and a technological exploit but, with its sanctuaries devoted to Buddhism, Hinduism and Jainism, it illustrates the spirit of tolerance that was characteristic of ancient India. This rupestral ensemble constitute one of the most beautiful expressions of the art of the Indian Middle Ages; they are noteworthy as three major Indian religions have laid joint claim to the caves peacefully since they were created. These breathtaking caves are definitely worth visiting for their remarkable reliefs, sculptures and architecture. It is not, like that of Ajanta, the expression of a single belief; rather it is the product of the three principal religions of ancient India.
“Progressing from south to north along the cliff, one discovers successively the twelve caves of the Buddhist group, which appear to be the oldest (between c. 600 and 800) and comprise monasteries and a single large temple (cave 10); then the caves of the Brahmin group (c. 600 to 900) which are no doubt the best known of Ellora with the 'Cavern of the Ten Avatars' (cave 15) and especially the Kailasha Temple (cave 16), an enormous complex, most likely undertaken during the reign of Krishna I (757-83); and, finally, the Jain group (caves 30-34) whose sanctuaries were created by the sect of the Digambara towards 800-1000, The Jain caves, the last to be excavated, drew their inspiration from the art already existing at Ellora: cave 32 recalls by certain of its dispositions the Kailasha Temple.”
Buddhist Caves and Jain Caves at Ellora
Carved between the 6th and 7th century, the Buddhist caves are mostly viharas or monasteries. Some of these include shrines carved with images of Lord Buddha and bodhisattvas. Cave 5 is considered the most important. It consists of a long hall with two benches longer than 18 meters in the center. This cave was probably where group recitations of Buddhist sutras took place. The intricately carved Cave 10, popularly known as Vishvakarma (the architect of gods), contains a huge Buddha image in front of the stupa. It also features a rock-cut balcony. Caves 11 and 12, are known as Don Taal and Teen Taal respectively, and are quite striking. They are three-storeyed and beautifully showcase esoteric monastic Buddhist architecture.
According to UNESCO: The Buddhist Caves were excavated between the 5th and the 7th centuries, when the Mahayana sects were flourishing in the region; among these cave 5 is the largest. Cave 10 is a chaitya hall and is popularly known as 'Visvakarma'. It has a highly ornamental facade provided with a gallery and in the chaitya hall there is a beautiful image of Buddha set on a stupa. The historical value of cave 12 or Tin Tala lies in the fact that human hands built a three-storeyed building from rock with such painstaking skill that even the floors and the ceiling are smooth and levelled. Tin Tala cave is a monastery-cum-chapel, with cells. It dates to the Rashtrakuta period in the mid-8th century.” [Source: UNESCO]
The Jain Caves number 30 to 34. Cave 32 or the Indra Sabha, though unfinished, is the most spectacular here. The upper storey of the cave is one of the largest and the most elaborate with beautiful pillars, large sculptural panels and paintings on its ceiling. Among all the Ellora caves, the Jain caves have the largest number of wall paintings on extant ceilings.
Hindu Caves at Ellorca
Excavated during the rule of the Kalachuri, Chalukya and Rashtrakuta rulers, the Hindu caves are home to numerous noteworthy sculptures and contain traces of plaster suggesting that the sculptures were painted. Cave 16, known as the Kailasa, is the piece de resistance. A monolithic rock-cut structure, it looks like a multi-storeyed temple complex. The spectacular courtyard houses two life-size elephant statues as well as two victory pillars. The side walls are decorated with sculpted panels. Prominent caves include 14, 15, 16, 21 and 29. Cave 14 contains sculptural panels adorned with Hindu deities. Cave 21, or the Rameshwar cave, is adorned with images of Ganga and Yamuna. Cave 29, locally famous as Sita ki Nahani, is unique in elevation and plan which resembles the great cave at Elephanta. It has a number of impressive statues as well.
The process of making these beautiful articles is a complicated one and the elementary material used in an alloy of zinc and copper in the ratio 16:1. Then, artistic patterns are etched on this alloy. The process involves eight stages. First, moulding is done, which is followed by smoothing with a file.
Chiselling and engraving are done thereafter. The most amazing step is the inlaying of silver, which is followed by smoothing, buffing and then oxidising the product by ammonium chloride and soil. The chemicals in this soil are believed to give a lustrous black color to the products. The main articles that you can buy here include vases, goblets, candle holders, jewelry boxes, wine decanters and hookahs.
Kailasa Temple at Ellora
Kailasa (Cave 16) is regarded as the finest cave at Ellorca. A monolithic rock-cut structure, it looks like a multi-storeyed temple complex. According to UNESCO: The Kailasa temple at Ellora is one the world's largest monoliths. Some 85,000 cubic meters of solid rock was scooped out by hand to create a gateway, pavilion, courtyard, assembly hall, vestibule, sanctum and tower. The creators of Kailasa ingeniously used the mountain itself to make the effigy of a divine mountain. A mountain-carved-out-of-mountain, Kailasa was constructed by first cutting a trench into the mountain to isolate a mass of rock 8 meters (26 feet) long, 47 meters (154 feet) wide, and 30.5 (100 feet) high.
There is a three-storied hostel for monks. Each room has a carved stone bed, with a stone pillow, and a niche for a reading lamp. Each floor has a room for an attendant and a rectangular space that served as a notice board. There is picnic spot next a waterfall. By working from the top of the mass down, the rock cutters avoided the need for scaffolding. The product of two hundred years of labor was a worthy replica of Shiva's Paradise, Mount Kailasa in the Himalayas."
The Brahmin caves are mostly Saivite. Kailasa (cave 16) is a remarkable example of rock-cut temples in India on account of its striking proportion; elaborate workmanship architectural content and sculptural ornamentation. It is said that cave 16 have been started by the Rashtrakuta king, Krishna I, and it is dedicated to Shiva and named after his mountain home in the Himalaya, the snow-peak Kailasa. The whole temple consists of a shrine with lingam at the rear of the hall with Dravidian sikhara, a flat-roofed mandapa supported by sixteen pillars, a separate porch for Nandi surrounded by an open court entered through a low gopura. The grand sculpture of Ravana attempting to lift Mount Kailasa, the abode of Siva, with his full might is a landmark in Indian art. The Jain Caves are massive, well-proportioned, decorated and mark the last phase of the activity at Ellora. [Source: UNESCO]
Pitalkhora Caves
Pithaaikhora Caves (75 kilometers north Aurangabad) are the oldest Buddhist Caves in India. Located on Chandora Hill, these 14 rock-cut Buddhist caves that back to the 2nd century B.C.. These basalt rock caves are among the earliest examples of rock-cut architecture in the country, and invite visitors from all over the region. While four of the caves are chaityas or prayer halls, the rest are viharas or residential cells.
All the caves are from the Hinayana period, and boast paintings that belong to the Mahayana period (6th century). One crosses a beautiful waterfall, right next to the caves, to reach the complex with unique statues of Yaksha figures, soldiers, elephants, a deteriorated Gaja Lakshmi icon and an ancient rain harvesting system of rain water. Cave 3 is believed to be the main chaitya, in which original complete pillars are decorated with painting fragments in the Ajanta style. There are a number of beautiful images of Lord Buddha in a seated and a standing pose.
The cave viharas have been constructed following the traditional plan with a hall in the center and small residential cells along three walls. Cave 4 is an exquisitely carved vihara, adorned with pillars and lattice windows. The elaborate entrance, flanked by two dwarapalas (sentinels), draped in costumes reminiscent of Shaka influence, is especially beautiful. Water flowing through a channel behind the adjacent wall, is sprinkled through the five hoods of a carved cobra statue. Another impressive arrangement includes a series of nine elephants with an almost life-size horse in profile with a male figure - a ‘chauri’ bearer. Most of the sculptures found are part of the exhibition in the National Museum, New Delhi.
Elephanta Caves
Elephanta Caves (on Elephanta Island an hour boat ride from the Gateway of India in Mumbai) is a network of ancient rock-cut caves that boast artistic wall carvings and sculptures, dedicated to Hindu and Buddhist gods. These caves were designated a UNESCO World Heritage Site in 1987. According to UNESCO: “The rock-cut Elephanta Caves were constructed about the mid-5th to 6th centuries AD. The most important among the caves is the great Cave 1, which measures 39 meters from the front entrance to the back. In plan, this cave in the western hill closely resembles Dumar Lena cave at Ellora, in India. The main body of the cave, excluding the porticos on the three open sides and the back aisle, is 27 meters square and is supported by rows of six columns each.
“The 7-meter-high masterpiece “Sadashiva” dominates the entrance to Cave 1. The sculpture represents three aspects of Shiva: the Creator, the Preserver, and the Destroyer, identified, respectively, with Aghora or Bhairava (left half), Taptapurusha or Mahadeva (central full face), and Vamadeva or Uma (right half). Representations of Nataraja, Yogishvara, Andhakasuravadha, Ardhanarishwara, Kalyanasundaramurti, Gangadharamurti, and Ravanaanugrahamurti are also noteworthy for their forms, dimensions, themes, representations, content, alignment and execution.
“The layout of the caves, including the pillar components, the placement and division of the caves into different parts, and the provision of a sanctum or Garbhagriha of sarvatobhadra plan, are important developments in rock-cut architecture. The Elephanta Caves emerged from a long artistic tradition, but demonstrate refreshing innovation. The combination of aesthetic beauty and sculptural art, replete with respondent Rasas, reached an apogee at the Elephanta Caves. Hindu spiritualistic beliefs and symbology are finely utilized in the overall planning of the caves.
The caves are the most magnificent achievement in the history of rock-architecture in western India. The Trimurti and other colossal sculptures with their aesthetic setting are examples of unique artistic creation. The date of the famous Elephanta Caves is still very much debated and varies from the 6th century to the 8th century according to different specialists. They constitute one of the most striking collections of rock-art in India. There are two groups of caves. To the east, Stupa Hill (thus named because of a small brick Buddhist monument at the top) contains two caves, one of which is unfinished, and several cisterns. To the west, the larger group consists of five rock-cut Hindu shrines. The main cave is universally famous for its carvings to the glory of Shiva, who is exalted in various forms and act ions. The cave consists of a square plan mandapa whose sides measure about 27 meters.
See Separate Article Elephanta Caves factsanddetails.com
Image Sources: Wikimedia Commons
Text Sources: India tourism website, India’s Ministry of Tourism and other government websites, UNESCO, Wikipedia, Lonely Planet guides, New York Times, Washington Post, Los Angeles Times, National Geographic, The New Yorker, Bloomberg, Reuters, Associated Press, AFP, Yomiuri Shimbun and various books and other publications.
Updated in August 2020