Discription of Ajanta Caves Essay Example

was located 35 to 110 feet below. At the time of their discovery in 1819 by a British officer during a hunting party, the area was heavily forested and the caves were covered by jungle. Now, there is a modern pathway that runs across the cliff. The caves, numbered 1 to 28 along the path starting from the entrance, are Buddhist monastic buildings representing different "monasteries" or colleges. However, some of these caves are either unfinished or barely started. Additionally, there are traditional numbering system includes small shrines like "9A." It is worth mentioning that "Cave 15A" remained buried under debris when they were assigning numbers to the caves.

The caves in this region have a considerable number of waterfalls that can be heard from outside when the river is high. Additionally, these caves house the largest collection of early Indian wall-paintings, with very few other surviving paintings from this area in modern India. Nevertheless, there are some paintings related to the 5th-century artworks at Sigiriya in Sri Lanka. Furthermore, the caves feature rare and intricate architectural carvings. The unique style of figure sculptures found within these caves is exclusive to this area and only a few contemporary sites nearby. However, it is possible to connect the Ajanta tradition with later Hindu Ellora Caves and other locations.

History

Ajanta, similar to other ancient Buddhist monasteries, operated as a college monastery with a strong focus on education. It was divided into separate colleges for living and education, all under central supervision. The site's layout reflects this organization, with most caves only accessible from the outside. According to Xuanzang, a traveling scholar from the seventh

century, Ajanta housed Dinnaga, a renowned Buddhist philosopher and author of logic books during the 5th century. At its peak, it is believed that hundreds of teachers and students were accommodated at the settlement. Ajanta may have served as a home base for monks who had completed their initial training and returned during the monsoon season from their nomadic lifestyle. Historians speculate that the caves were created in two distinct periods separated by several centuries.

Caves from the first, also known as Satavahana, Period

The earliest caves, such as caves 9, 10, 12, 13, and 15A, were built between 100 BCE and 100 CE. Some historians argue that these caves were constructed between 300 BCE and 100 BCE. However, the consensus is that these earlier caves were grouped together. It is believed that more early caves may have been lost due to later excavations. Among these caves, cave 9 and cave 10 are stupa halls in chaitya-griha form while cave 12, cave 13, and cave 15A are viharas. The first phase of these caves is commonly referred to as the Hinayana phase when Buddhism's Hinayana or Lesser Vehicle tradition was predominant. During this period, the Buddha was symbolically revered. However, historians now prefer not to use the term Hinayana for this time frame anymore. Similarly, the second period of caves are mostly dated too early to be accurately classified as Mahayana and do not contain extensive depictions of supernatural beings commonly seen in later phases of Buddhist art. The first Satavahana period focused more on the stupa rather than figurative sculptures. In the second period of caves primarily only depict the Buddha or

narrative scenes from his life.

The caves from the later or Vakataka period.

Previously, it was believed that the second phase of cave temple creation occurred from the fourth to seventh centuries CE, starting in the 5th century. However, recent studies by Walter M. Spink suggest that most of the work actually happened between 460 and 480 CE during Emperor Harishena's reign in the Vakataka dynasty. While some scholars disagree, this viewpoint is widely accepted among Indian art authors like Huntington and Harle. This phase is commonly known as the Mahayana or Greater Vehicle phase, although many scholars now avoid using this term due to uncertainties about our understanding of Mahahayana. Around 20 cave temples were constructed simultaneously during this time period, mainly consisting of viharas with a sanctuary at the back. The most intricate caves were built during this time and involved modifications to existing ones. Spink argues that it is possible to accurately date this period. Despite ongoing debates, Spink's ideas are increasingly accepted for their overall conclusions.

According to the Archaeological Survey of India website, the second phase of paintings in the Ajanta Caves occurred between the 5th and 6th centuries A.D. This phase lasted for two centuries and included caves 1-8, 11, and 14-29, with some potentially being extensions of earlier caves. Among these caves, chaitya-grihas were found in caves 19, 26, and 29 while others were viharas. After Harishena's downfall around 480 CE, it is believed that affluent patrons abandoned the Ajanta Caves as suggested by Spink. As time passed, vegetation grew back and these caves became forgotten and undisturbed. Although local residents had some knowledge about

their existence, they remained hidden and unvisited for many years.

Architecture

The monasteries primarily consist of vihara halls and chaitya halls. The vihara halls are rectangular with small dormitory cells in the walls and a shrine at the rear with a large statue of the Buddha. This represents the transition from Hinayana to Mahayana Buddhism. The chaitya halls are narrower and taller, with a stupa as the focal point at the far end and a narrow aisle around the walls. There are also plainer rooms for sleeping and other activities. The caves may have ornate entrances with windows, and a colonnaded porch or verandah leading to a central open area defined by square columns. Surrounding this area are long rectangular aisles, creating a cloister-like space. Along the walls are small cells entered through narrow doorways, which have niches on their back walls. Originally, these cells had wooden doors. The larger shrine-room at the rear contains a Buddha statue. The earlier viharas are simpler and lack shrines.
In reality, Spink shifts the modification of a design by incorporating a shrine during the middle of the second period. Numerous caves undergo adjustments to include a shrine either during the excavation process or following the initial phase.

The caves' iconography.

During the pre-Christian era, stupas were used as symbolic representations of the Buddha. Halls were built with stupas to pay tribute to the Buddha. Over time, various forms of the Buddha's representation emerged, including coins, relic caskets, relief sculptures, and loose sculptural forms. However, it took a while for human depictions of the Buddha to appear in Buddhist art. The early portrayals of the Buddha as a human can

be seen at Buddhist archaeological sites like Goli, Nagarjunakonda, and Amaravati. These sites had monasteries constructed using less durable materials such as wood, brick, and stone. It took many centuries before rock-cut architecture began depicting images of the Buddha. The specific location where the first image of the Buddha in a rock-cut cave was created remains unknown. Current research indicates that portable Buddha images made of wood or stone were initially introduced at Kanheri before Ajanta Cave 8 followed suit. The example from Kanheri dates back to the fourth-fifth century CE while Spink has dated the Ajanta example to CE. Prior to these instances and excluding them, no images of the Buddha can be found in rock-cut monasteries despite numerous caves being carved throughout India during the early centuries of Common Era (CE). In these caves, it is primarily stupa worship rather than an image of the Buddha that is venerated. The Kanheri and Ajanta examples represent pioneering rock-cut complexes featuring images showcasing Buddhism's sacred objects known as sailagrhas

The caves of the 5th century, known as the second period, were called "Mahayana", but they do not exhibit the characteristics associated with later Mahayana Buddhism. Despite the fact that Mahayana Buddhism teachings started in the first century, there is little art and archaeological evidence to suggest that it became a widespread practice. In Mahayana, the emphasis is on Bodhisatva rather than Gautama Buddha. This includes deities like Manjushri and Tara, as well as aspects of Buddha such as Aksobhya and Amitabha. None of these figures are depicted at Ajanta, except for some Bodhisatva who are portrayed as attendants of the Buddha in the shrine.

The few isolated images of Bodhisatva at Ajanta, like the Astabhaya scenes, were added later and were not part of the original plan. These additions were made by new donors after Emperor Harisena's death (Spink).

Cave one

Cave 1, situated at the eastern end of the horse-shoe shaped scarp, is the first cave encountered by visitors. Originally, it would have been in a less prominent position at the end of the row. According to Spink, this cave was excavated later, after the best sites had been taken, and was never fully dedicated for worship with the Buddha image in the central shrine. This is evident from the absence of sooty deposits from butter lamps on the base of the shrine image and the lack of damage to the paintings that would have occurred if the garland-hooks around the shrine had been in use for a significant amount of time. Although there is no written evidence, Spink suggests that Emperor Harishena of the Vakataka Dynasty may have been the patron of this cave, as depicted through the emphasis on royal imagery and selecting Jakata tales that narrate previous lives of the Buddha in which he held royal status.The cave possesses an intricate carved facade featuring relief sculptures on entablature and ridges, along with ornamental carvings on most surfaces. It showcases scenes depicting the life of the Buddha and various decorative motifs. However, the two pillared portico, which was visible in 19th-century photographs, no longer exists. The front-court of the cave consists of cells with pillared vestibules on each side, raised at a higher level. Additionally, there is a porch with simple cells at both ends.

Interestingly, the absence of pillared vestibules at the ends suggests that the porch was not excavated during the latest phase of Ajanta when such vestibules were considered necessary and customary. The porch was originally adorned with numerous murals, fragments of which still remain, especially on the ceiling. The cave features three doorways, a central one and two side ones, with two square windows carved between them to provide illumination inside.

2. Cave two

Located next to Cave 1, Cave 2 is renowned for its well-preserved paintings on the walls, ceilings, and pillars. Although similar to Cave 1, it is in better condition and boasts a unique porch with distinctive carvings on its facade. The cave showcases sturdy pillars adorned with decorative designs that support the structure. At the front porch, there are rooms held up by pillared vestibules on both ends. These additional rooms were constructed in previously unused areas to meet the growing housing needs in later years. The inclusion of porch-end rooms became a common feature in subsequent Vakataka excavations.

The small cells on the ends of the porch were transformed into CPVs or were planned to increase space, symmetry, and aesthetic appeal. The painted Jataka tales on the ceilings and walls of this porch have been widely published. These tales depict the past lives of the Buddha as Bodhisattva. While the stories illustrated in cave 1 focus on kingship, cave 2 showcases powerful women in prominent roles, suggesting that the patron may have been an unknown woman. The back wall of the porch features a centrally placed doorway, providing access to the hall. Flanking the door are square-shaped windows

that bring light into the interior. The hall is supported by four colonnades surrounding a center square. Each colonnade runs parallel to its corresponding wall, creating aisles in between. Rock-beams are situated above and below the colonnades. The capitals of the columns are carved and painted with various decorative themes, including ornamental, human, animal, vegetative, and semi-divine forms. Paintings adorn nearly every surface of the cave except for the floor. However, the artwork has suffered erosion and damage from human interference over time. Consequently, many sections of the painted walls, ceilings, and pillars are incomplete. The painted narratives of the Jataka tales are exclusively depicted on the walls and required special attention from devotees.

The texts on the walls are didactic, aiming to educate the community about the teachings and life of the Buddha across multiple rebirths. Placed on the walls, they guide devotees through the aisles to 'read' the depicted narratives of different episodes. These episodes are shown in a non-linear order, and identifying them has been a significant focus of research since the site was rediscovered in 1819. Dieter Schlingloff's identifications have improved our understanding of these texts.

The third cave is Cave three.

The Archeological Survey of India board outside the caves provides information about cave 3. According to the board, this cave was planned as the largest monastery but was never completed. An inscription on the pedestal of the Buddha's image reveals that it was donated by a person named Mathura and dates back to the 6th century A.D. The cave consists of a verandah, a hypostylar hall, a sanctum with an antechamber, and a series of unfinished cells. The

panel of Litany of Avalokitesvara is located on the rear wall of the verandah. Inside the sanctuary, there is a massive Buddha statue in a preaching pose, surrounded by bodhisattvas and celestial nymphs.

Cave nine-ten is the fourth cave.

Caves 9 and 10, both chaitya halls, were constructed during the first period. However, they were also being modified but left unfinished during the second period. Cave 10's origin can be traced back to the 1st century BCE while cave 9 was built approximately a hundred years later. Caves 9A to 9D and 10A, referred to as "shrinelets," were also created during the second period and commissioned by individuals. The paintings in cave 10 consist of remnants from the early period, many from an incomplete modernization project in the second period, and numerous smaller late intrusive images. These images mainly depict Buddhas and are often accompanied by donor inscriptions from individuals. The intrusive images were strategically placed in less prominent positions, sparing the "official" program from over-painting. It is estimated that there were more than 300 of these intrusive images, created by various artists whose different styles are evident.

5. Additional caverns

Cave 3 marks the beginning of an excavation, but it was soon abandoned. Caves 5 and 6 are viharas, with cave 6 having two floors. However, only the lower floor of cave 6 was completed while the upper floor remains unfinished, except for some private votive sculptures and a shrine Buddha. Cave 7 has an impressive facade with two porticos, but due to difficulties with the rock, only a small portion of the cliff was used to build the cave. It

consists of the two porticos, a shrine room with an antechamber, and fitted cells. Initially believed to be from the first construction period, Spink suggests that cave 8 is possibly the earliest cave from the second period. The shrine in cave 8 appears to have been added later and its statue is now missing. Although once painted, only faint remnants can be seen.