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Ajanta Caves
The U-shaped valley at Ajanta was carved by the Waghora river over many centuries. As the river thundered down the valley every varṣāvāsa or rainy season, it eroded away the layered volcanic basalt rock. It was only a day’s walk from the ancient trade route extending to Sopārā. The cliff is set amidst lush green forests next to a cascading waterfall. It was an ideal spot to create saṅghārāmas or monastic dwelling units where the monks could retreat and congregate Read more....
Early Caves
The first caves at Ajanta were made sometime between the 2nd century BCE and 1st century BCE. These caves are part of a constellation of rock-cut Buddhist temples that dot the slopes of the Sahayādri or western ghats in the region. The Early caves at Ajanta were made through donations made by upāsakas or laity, monks, traders and ordinary people. There is a chiselled inscription in Cave 12 made by a vaṇija or merchant. Similarly, parts of the caves including a wooden facade (that didn't survive) for Cave 10 were made through individual donations. In this Early period, we find two chaityagṛha’s or congregation halls where worshippers assembled. During this period, upāsaya or dwellings with avarakas or cells were also created. Commonly known as vihāras, the monks resided in three such caves (12, 13 and 15A).
These rock-cut temples made at Ajanta mimicked their wooden predecessors in design and aesthetic. We can still find markings left behind by wooden rafters that once adorned the ceiling. This period in Buddhism was also known for aniconism. The Buddha was generally not represented in his human form, instead he was represented through various symbols like the stūpa, a tree, parasol etc. So what do we make of the many Buddha images both painted inside the cave and sculpted outside it? These are part of 5th century CE renovations performed at the site. The many Buddha sculptures outside have been attributed to votary donations. At the apse inside Cave 10 and 9 we also find a stūpa. The design of the cave, which is a U-shaped hall with pillars running round the stūpa, seems to be ideal for the performance of circumambulation around the sacred stūpa.
Pattern left by wooden rafter (now missing) on the roof of Cave 9.
Stūpa in Cave 10, one of the early chaityagṛhas.
Later Caves
The second phase of activity at the site is dated to the 5th century CE. Made through individual donations from wealthy patrons connected to the Vakataka kings, these caves are more ambitious in scale and scope. There are 25 caves made in this period, each at various stages of completion. We again find two chaityagṛhas (Cave 19 and 26) in this period. The curious development of this period is the presence of the Buddha image which is superimposed on the stūpa. Cave 19 is part of a set of caves (17-20) donated by a king whose name cannot be clearly deciphered from the inscription he left outside Cave 17. Referring to himself as Dharādhipa, he writes that after the premature death of his younger brother Ravisambha, he has decided to lead a pious life adorning the earth with stūpas and vihāras. The other chaityagṛha (Cave 26) is part of large cave-complex made by a powerful monk Buddhabhadra.
Cave 16 was donated by Vakataka King Hariṣeṇa’s secretary or minister Varāhadeva. It is a perfect example of the vihāras in this period, which are now larger in size and scale and house a Buddha shrine. The interior of the cave consists of a pillared hall with cells on either side and a large Buddha shrine at the back of the cave. By the time we move to one of the last caves made at Ajanta, we see that the entire cave is decorated with sculpted and painted elements. The vihāras from this period have a facade, porch with cells at either end. The walls of the cave are painted and the caves have exquisite sculptures.
We can conclude that the caves at Ajanta would not have been possible with the will and need felt by the people who commissioned the caves. But what can we make of the actual process of making these caves and the labour involved? Spink has written extensively of the changing modes of design, aesthetic and iconography of the caves. He also has examined the “unfinished” caves at Ajanta like Cave 24 to gauge the process of creating the caves. The basalt rock cliff has natural fault lines that would have made the process a difficult and laborious one. The collapsed ceiling in Cave 4 and landslides that have destroyed Caves 8 and 15A speak of the dangers involved. These man-made caves required excavators to carve out the caves out of the tough rock-face. Add to that the work done by artists and craftspeople to carve out sculptured figures, flora, fauna and flying yakṣas. No wonder that the caves remain a unique and important testament to Buddhist cave architecture in the world.
Stūpa with Buddha image from Cave 19, one of the later chaityagṛhas.
Cave 16 inscription made by its patron Varāhadeva.
Interior of Cave 1 showing Buddha shrine at the back.
Early Caves
The first caves at Ajanta were made sometime between the 2nd century BCE and 1st century BCE. The Early caves at Ajanta were made through donations made by upāsakas or laity, monks, traders and ordinary people. In this Early period, we find two chaityagṛha’s or congregation halls where worshippers assembled. During this period, upāsaya or dwellings with avarakas or cells were also created. Commonly known as vihāras, the monks resided in three such caves (12, 13 and 15A). .
Early Chaityagṛhas
Later Caves
The second phase of activity at the site is dated to the 5th century CE. Made through individual donations from wealthy patrons connected to the Vakataka kings, these caves are more ambitious in scale and scope. There are 25 caves made in this period, each at various stages of completion. We again find two chaityagṛhas (Cave 19 and 26) in this period. By the time we move to one of the last caves made at Ajanta, we see that the entire cave is decorated with sculpted and painted elements. The vihāras from this period have a facade, porch with cells at either end. The walls of the cave are painted and the caves have exquisite sculptures. .
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