Ajanta and Ellora are the pride of Maharashtra Essay Example

located in Aurangabad district of Maharashtra, India. They can be found near Jalgaon, just outside the village of Ajin? ha (20°31? 56? N 75°44? 44? E).

The caves are situated just 59 kilometers away from Jalgaon Railway station on the Delhi-Mumbai rail line of the Central railways in India. They are also a distance of 104 kilometers from Aurangabad, while the Ellora Caves are located 100 kilometers away. Carved into the volcanic lava of the Deccan in the forest ravines of the Sahyadri Hills, these caves are surrounded by beautiful sylvan surroundings. Renowned for their magnificent carvings depicting Buddha's life, they are considered as marking the beginning of classical Indian art. These rock-cut cave monuments can be found in PG2, India and date back from the 2nd century BCE to 600 CE.

The caves of Ajanta are famous for their paintings and sculptures, which are considered excellent examples of Buddhist religious art. These artworks portray the Jataka tales and have a similar style to the frescos found in Sri Lanka's Sigiriya paintings. The construction of the caves occurred in two stages, starting around the 2nd century BCE with the first phase and continuing with the second group of caves around 600 CE. These caves have protected monument status under the Archaeological Survey of India. They include Viharas or Monasteries and Chaitya Grihas or monument halls that have been carved into the mountainside. Their tallest monastery measures 52ft, while they range in height from 35ft to 110ft.

The Buddhist monasteries served as places for monks to meditate and study Buddhist teachings. These square-shaped structures often contained paintings portraying educational, devotional, and decorative elements

that showcased Jataka Tales and the life of Gautam Buddha. These artworks also included depictions of contemporary individuals, rulers, slaves, various flora and fauna like flowers, plants, fruits, birds, and beasts. Furthermore, wall paintings and sculptures featured representations of yakshas (nature spirits), kinneras (half human half bird creatures), gandharvas (celestial musicians), and apsaras (heavenly dancers). The artistic creations also incorporated architectural and artistic elements from the Gupta Dynasty in the 3rd century AD. Particularly remarkable masterpieces can be found in caves one, two, sixteen, and seventeen.

On page 4&5,6 of the first period, there is a Buddhist community consisting of five sanctuaries or Chaitya-grihas (caves 9, 10, 19, 26 and 29) and monastic complex sangharamas or viharas. The chaitya-grihas, created in the 2nd century BC, have entrances in the rock wall that are topped by a horse-shoe shaped bay. The layout of the caves is basilical, with piers separating the main nave from the side aisles which come together in the apsis to allow for the ritual circumambulation around the commemorative monument. This rupestral architecture faithfully replicates the forms and elements seen in wooden structures.

Spink (2006) states that the Ajanta Caves originated with the construction of chaytia-grihas, which were sanctuaries made between 100 BCE and 100 CE. These caves were believed to be supported by the Satavahana dynasty (230 BCE - c. 220 CE) in the Waghora River canyons. During this time, caves 9, 10, 12, and 15A were established and showcased some of India's oldest painted art. The next phase at Ajanta occurred during the Gupta and post-Gupta periods in the 5th and 6th centuries AD when a cluster of caves

was constructed.

These caves were excavated during the rule of the Vakatakas and Guptas. Based on inscriptions, Cave 16 was dedicated to the Buddhist sangha by Varahadeva, the minister of Vakataka king Harishena (c. AD 475-500), while Cave 17 was a gift from a feudal prince. An inscription reveals that the Buddha image in Cave 4 was donated by Abhayanandi, who came from Mathura. There is controversy among scholars regarding the date of the second period of the Ajanta Caves. Initially, it was believed that the construction took place over a span of time from the 4th to 7th century AD. However, recently, longtime researcher Walter M.

According to Spink, the majority of the work on the Ajanta Caves occurred between 460 and 480 CE under Emperor Harishena's rule in the Vakataka dynasty. Around this time, approximately 20 cave temples were constructed. These temples were mainly viharas with a central sanctuary located at the back of their structure. After Harishena's downfall around 480 CE, it seems that the caves were abandoned and gradually forgotten. As time passed, the surrounding jungle grew back and concealed the caves, protecting them from being disturbed or visited.

The Europeans rediscovered the Ajanta Caves on April 28, 1819. While hunting tigers deep within dense vegetation, British officer John Smith from Madras Presidency's 28th Cavalry accidentally came across Cave No.10's entrance. Captain Smith explored this initial cave which had become a home for birds, bats, and other animals. He left his name and date (April 1819) scratched onto one wall. His inscription is positioned above eye-level for adults since he was standing on a five-foot tall accumulation of

rubble that had built up over time.

Shortly after their discovery, the Ajanta Caves gained fame for their unique location, impressive design, ancient artwork, and forgotten history. Cave 1-pg 7 and 8, located at the eastern end of the horse-shoe shaped scarp, is believed to have been one of the last caves to be started and almost finished during the Vakataka phase. While there is no inscriptional proof, some suggest that the Vakataka Emperor Harishena could have been the patron of this well-preserved cave.

One reason for this is that Harisena initially did not support the patronage of Ajanta. This cave showcases intricate carvings on its facade, including relief sculptures on the entablature and ridges. The carvings portray scenes from Buddha's life and various decorative motifs. Regrettably, the two-pillared portico, which could be seen in 19th-century photos, no longer exists. The cave consists of a front court with cells and pillared vestibules on both sides, all elevated on a high plinth level. Additionally, there are simple cells located at both ends of the cave's porch.

The porch of Ajanta lacks pillared vestibules at the ends, indicating it was not excavated during the latest phase when these were commonly used. Despite once being adorned with murals, fragments of these can still be seen on most of the porch. The porch consists of three doorways - one central and two side ones. Additionally, two square windows were carved between the doorways to allow more light into the space. Inside the hall, each wall is about 40 feet (12 m) long and 20 feet (6.1 m) high. The ceiling is supported by twelve pillars that

create a square colonnade and spacious aisles along the walls.

The rear wall of Cave 2 has a shrine that houses an impressive seated image of the Buddha, with his hands in the 'dharmachakrapravartana mudra. There are four cells each on the left, rear, and right walls. The walls are adorned with paintings that are mostly didactic, devotional, and ornamental, and they are in a fair state of preservation. Cave 2, located adjacent to Cave 1, is well-known for its preserved paintings on the walls, ceilings, and pillars. It bears resemblance to Cave 1 and is in better condition. [edit]The facade

Cave 2 features a distinct porch compared to Cave one, with variations even in the carvings on the facade. The cave is upheld by strong pillars adorned with decorative designs. The size and layout have several similarities with the porch. The front porch comprises cells upheld by pillared vestibules on both sides. The cells in the previously unused areas were added to accommodate the increased housing needs in later years. Porch-end cells became a common feature in all subsequent Vakataka excavations. The basic single cells on porch-ends were either transformed into CPVs or planned to provide more space, symmetry, and aesthetic appeal.

The porch is famous for its ceiling and wall paintings, which depict the Jataka tales - stories about the Buddha's past lives as Bodhisattva. Additionally, there is a central doorway on the rear wall of the porch that leads to the hall. Furthermore, on either side of this door, there are square-shaped windows that allow natural light to enter. [edit] The hall itself consists of four colonnades that support

the ceiling and enclose a central square shape. Each side of this square runs parallel to one of the hall's walls, creating aisles between them. [edit] Moreover, inside the hall, there are also paintings.

The cave contains paintings on different surfaces, except for the floor. The artwork has deteriorated over time due to decay and human interference, resulting in fragmented walls, ceilings, and pillars. Cave 3 (also known as Cave 4-page 11) is an incomplete monastery that measures 10.08 X 8.78 meters with only the initial excavation of a pillared verandah completed. On the other hand, Cave 4 is a square-shaped monastery consisting of a hall, sanctum sanctorum , and pillared verandah. It dates back to the first half of the sixth century A.D., measuring (35.08 X 27.65 meters), and holds the title of being Ajanta's largest monastery.

The exquisitely sculpted door frames in Cave 5, 6, and 7 (also known as PG12 and 13) feature a carved Bodhisattva representing the reliever of Eight Great Perils on their right side. Painting traces can still be observed within the cave. The hall's ceiling showcases a unique geological characteristic resembling a lava flow. Despite being unfinished, Cave 5 stands out for its intricately carved door frame and depiction of female figures on makaras; it is an unfinished monastery measuring 10.32 x 16.8 m. On the other hand, Cave 6 is a double-story monastery measuring 16.85 x 18.07 m with a lower level consisting of a hall, sanctum sanctorum, and a pillared hall; while the upper level includes a hall with cells, subsidiary cells, and another sanctum sanctorum.

Both shrines house a depiction of Buddha in a

preaching attitude. The important paintings displayed are the Miracle of Sravasti and the Temptation of Mara. Additionally, the cave features sculptural depictions of Buddha in various postures and attitudes. The monastery in Cave 7 has a sanctum sanctorum, an open hall with two small porticos supported by octagonal pillars, and eight cells. Inside the sanctum, there is a depiction of Buddha in a preaching attitude. Other sculptural panels include the Miracle of Sravasti and a seated Buddha protected by Nagamuchalinda.

The CAVE8,9 PG 13,14,14.5 consist of two caves located in Ajanta. CAVE 8 is an unfinished monastery with dimensions of 15.24 X 24.64 m. It is considered one of the earliest monasteries but has unfortunately suffered significant front damage due to a landslide.
On the other hand, CAVE 9 dates back to the second century B.C. and is an apsidal chaityagriha measuring 18.24 X 8.04 m. It belongs to the Hinayana phase of Buddhism and includes various elements such as an entrance door, two side windows, a central hall, and a nave flanked by side aisles (pradikshana) on both sides. These aisles are separated by a row of 23 pillars and also house a stupa that serves as the object of worship.

The chaityagriha displays replicas of wooden architectural styles, such as inward tapering octagonal pillars and evidence of wooden beams and rafters. The chaitya was used during a later period, as indicated by the sculptures of Buddha on the facade and side walls facing the court. Inside the chaitya, there are two layers of paintings, with the earlier ones dating back to the second half of the 1st century BC and the later

ones to the 5th-6th centuries AD. Cave 9, one of the earliest prayer hall caves, is notable for its arched windows that allow softly diffused sunlight into the cave.

Cave 10, also known as the Theravada cave, is home to a remarkable stupa. It is the oldest chaityagriha at Ajanta and was discovered in April 1819 by British Army Officer John Smith. The entrance arch that leads to the entire Ajanta Caves complex contributed to the discovery of this cave. Dating back to the 2nd century B.C., an inscription in Brahmi on the front of the cave states 'Vasithiputa Katahadi'. With dimensions measuring 30.5 X 12.2 meters, this cave features a spacious central hall, a nave with two aisles called pradikshana, and a row of 39 octagonal pillars. Furthermore, there is a rock stupa located at the end of this cave which serves as a place for worship.

The cave is divided into two periods of paintings. The earlier paintings date back to the 2nd century B.C, while the later ones are from the 4th to 6th century A.D. Within this period, two Jataka stories, the Sama (Shama) Jataka and the Chhaddanta Jataka, have been identified. In the later period paintings, Buddha figures in various poses can mainly be found on the pillars.

Cave 10 is considered to be Ajanta's oldest cave temple, dating back to the 2nd century BC. It is known as the Theravada prayer hall. Cave 11, on the other hand, is a monastery that was built at the beginning of fifth century A.D. It consists of a hall with six cells and a long bench, a pillared verandah with four cells, and

a sanctum sanctorum where an unfinished stupa stands against which there is a Buddha in preaching attitude. Some of its paintings depict Bodhisattvas and figures of Buddha.

Moving on to Cave 12, it is a Hinayana monastery featuring twelve cells arranged on three sides with a collapsed front wall. An inscription on its back wall reveals that it was gifted by Ghanamadada, who was likely a merchant. This cave can be dated back to around 2nd – 1st century B.C., possibly slightly later than Cave 10. The frontage of these cells showcases chaitya window motifs above their door openings.

Cave 13 is regarded as a small monastery from t he first phase .The text describes several caves at Ajanta, each with their own unique features and dimensions. Cave 14 is unfinished and has rock-cut beds for monks' use. It measures approximately 13.43 X 19m and sits above Cave 13. Cave 28 was originally planned on a large scale and is adorned with sala bhanjikas positioned at the top corners of the doorway. Cave 15, another monastery, has an astylar hall with eight cells, an antechamber, sanctum sanctorum, and a pillared verandah. The sculptures in this cave depict Buddha in various poses, including a seated Buddha on simhasana inside the sanctum sanctorum. Traces of paintings suggest it was once painted. Cave 15A is the smallest excavation at Ajanta and consists of a central astylar hall surrounded by three cells on each side. Unfortunately, the inscription on the front wall has been lost over time. The hall is decorated with a chaitya window pattern emerging from vedica pattern.

According to an inscription discovered here, Varahadeva, the minister of

Vakataka king Harishena (circa A. D. 475-500), was responsible for excavating this cave. This monastery cave (19.5 X 22.25 X 4.6 m) comprises a central hall, surrounded by 14 cells on three sides, as well as a vestibule and a sanctum dedicated to a Buddha image. The cave features various significant painted themes including the conversion of Nanda, the miracle of Sravasti, Maya's dream, and certain events from Buddha's life. The paintings in the caves depict Jataka stories such as Hasti, Maha-ummagga, and Maha-sutasoma. Additionally, there are painted inscriptions inside the caves.

An inscription in Brahmi was discovered at this location, which records the excavation of this cave by a feudatory prince during the reign of Vakataka king Harishena. This monastery, measuring 34. 5 X 25. 63 meters, comprises of a spacious hall that is surrounded by 17 cells on three sides, as well as a vestibule and a sanctum containing a Buddha image. Within the cave, there are several well-preserved paintings from the Vakataka period. These paintings include the Vessantara Jataka, which is located to the right of the door, and a large wheel symbolizing the 'Wheel of Life.' Additionally, there is a depiction of a flying apsara to the left of the door, as well as scenes such as the subjugation of Nalagiri (a wild elephant) by Buddha at Rajagriha and Buddha preaching to a congregation.

The Jatakas portrayed in this text are Chhaddanta, Mahakapi (in two versions), Hasti, Hamsa, Vessantara, Maha-Sutasoma, Sarabha-miga, Machchha, Mati-posaka, Sama, Mahisa, Valahass, Sibi, Ruru and Nigrodhamiga. These Jatakas can be found in Cave 18, 19, 20, and 21 on page 19 and 20. Cave 18 is a

rectangular excavation (3.38 X 11.66 m) leading into another cell. Inside the hall are two pillars with moulded bases and octagonal shafts. Cave 19, on the other hand, is a chaityagriha (16.05 X 7.09 m) believed to be from the fifth century A.D. It could be the gandhakuti and features a carved stupa with a standing image of Buddha 7.

The cave is famous for its magnificent facade and specifically the two life-size Yaksha figures on either side of the chaitya vatayana (arch). Inside the hall, there are painted representations of Buddha in different poses. Cave 20 is a monastery with no pillars, consisting of a hall (16.2 X 17.91 m), cells, a sanctuary, and a verandah. It is believed to have been built between A.D. 450 and 525. An inscription in Brahmi on the verandah records that the mandapa was gifted by Upendra. The sanctuary houses a sculpture of Buddha in a preaching stance. Another significant sculptural panel in this cave depicts seven Buddhas accompanied by attendants.

CAVE 21 is a monastery measuring 28.56 X 28.03 meters. It consists of a hall with twelve pillars, twelve cells on three sides, a sanctum sanctorum, and a pillared verandah (with the pillars now restored). Among the twelve cells, four have pillared porches. The sanctum houses a seated Buddha in a preaching attitude. In the cave, there are traces of paintings that include a panel depicting Buddha preaching to a congregation.

On page 21, there are CAVE 22,23,24,25. CAVE 22 is a monastery measuring 12.72 X 11.58 meters. It consists of an astylar hall, four unfinished cells, a sanctum sanctorum, and a narrow verandah. On

the back wall of the shrine, there is a carving of Buddha seated in pralamba-padasana.

In sculptures, the Buddha is depicted in various forms, and there are painted figures of Manushi-Buddhas with Maitreya present. CAVE 23 has dimensions of 28.32 X 22.52 m and consists of an astylar hall, sanctum sanctorum, antechamber, side cells, and a pillared verandah. This cave is renowned for its beautifully decorated pillars and pilasters as well as the presence of naga doorkeepers. Conversely, CAVE 24 measures 29.3 X 29.3 m and is an unfinished monastery that ranks as the second largest excavation at Ajanta after Cave 4. Its layout includes a hall with a pillared verandah and sanctum sanctorum.

A chapel with a pillared porch and an excavated verandah contains a seated Buddha in pralamba-padasana. Additionally, Cave 25, which is a monastery measuring 11.37 x 12.24 m, consists of an astylar hall, pillared verandah, and an enclosed courtyard. This cave is excavated at a higher level. On the left end of the verandah, two cells are observed, while the hall does not have any cells. It also lacks a shrine. Cave 26,27,28,29-PG 22/PG22,23 is quite similar to Cave 19 but larger in size (25.34 x 11.52 m). It is more intricately and beautifully adorned with sculpted figures.

A monk named Buddhabhadra, who was a friend of Bhavviraja, a minister of the king of Asmaka (Vidarbha), gifted this chaityagriha (A.D. 450 - 525) that is found on the wall of the front verandah. The chaityagriha includes a hall, side aisles (pradikshana), and a rock-cut stupa featuring an image of Buddha. The facade, inner pillars, triforium (between pillars and

roof arch), and aisles side walls are intricately carved with decorative designs and images, with the most prominent being the Mahaparinirvana of Buddha on the right aisle wall and the assault of Mara during Buddha's penance.
Cave 27, which may have been part of Cave 26, is a two-storey structure with the upper storey partially collapsed. It consists of a hall with four cells, an antechamber, and a sanctum sanctorum where an image of Buddha in a teaching attitude is housed.
Cave 28 is an unfinished monastery with only the pillared verandah excavated.
Cave 29, located between Caves 20 and 21 at the highest level, is an unfinished chaityagriha (22.8 X 12.84 m) in its first stage of excavation.
Ending-pg 24