Ajanta cave-temples
Maharashtra, India
The Buddhist cave temples of Ajanta were excavated from a horseshoe-shaped cliff, overlooking a bend of the Waghora river in northern Maharashtra, between the 2d century BC and the 5th century AD. The caves are numbered (1-28) according to their sequential location along the cliff face, which does not correspond to the order in which they were constructed.
The caves were used as a refuge by monks in the monsoon season, when the dry riverbed seen here would be filled with running water fed by a pool and waterfall, and the surrounding valley would be blanketed in lush, green vegetation. (This photograph was taken during the dry season, in February.)
Although both Hinayana and Mahayana phases of Buddhism are represented at Ajanta, the site is best known for its stunning Mahayana murals in caves 1, 2, 16, and 17. These 5th century murals are well-preserved, and completely accessible to visitors; their beauty and antiquity distinguish them as one of the treasures of Indian, and indeed world, art. Unfortunately, lighting conditions inside the caves were too dim to photograph the murals (see Behl for a fine selection), but the following pages sample the cave facades and sculptures.


Entrance
Cave 9, Ajanta
Cave 9, an early chaitya hall, dates to the 1st century BC. Its entrance facade, like most of the chaityas, includes a large chaitya arch framing a window with imitation timber construction. The large window was usually the first feature to be cut into the rock of a chaitya. It served two purposes: it allowed light into the cave, and it permitted rock to be easily removed from the cave during the process of excavation.
Excavation then proceeded from the top down, a painstaking process which at least had the benefit of not requiring scaffolding during construction.

Hariti and Panchika
Cave 2, Ajanta
Cave 2, one of the beautifully painted viharas, dates to the late 5th century. This sculpture is from the right side-chapel at the rear of the hall. Hariti, with a child on her lap, was the goddess of smallpox, a child-eating ogress whom the Buddha converted into their protectress. To Hariti's left (in shadow) is her consort Panchika, also known as Kubera. Kubera is a yaksha, a god of wealth and the hidden treasures of the earth.


Lintel
Cave 2, Ajanta
This lintel surmounts the entrance to the right portico shrine. It portrays a naga king flanked by his family and yaksha attendants. Paint remains on the ceiling; the lintel, too, was probably painted.


Bracket Figures
Cave 16, Ajanta
These two bracket figures from cave 16, another late-5th century painted vihara, illustrate the care which was lavished upon even the least significant decorations. Left, a flying couple (the woman's breasts are decorously covered, rather unusually for this type of figure). Right, a gana.
Incidentally, these and previous photos also demonstrate how the ubiquitous Indian motifs (flying couples, ganas, nagas, yakshas) are taken up in Buddhist, as well as Hindu and Jain, iconography.


Miracle of Shravasti
Cave 7, Ajanta
This sculpture represents a miracle at Shravasti, a city where the Buddha multiplied himself a thousand times in a showdown with his religious rivals (including Mahavira).
Cave 7 is a late 5th century vihara.

Unfinished cave
Cave 24, Ajanta
This cave may not look like much at first glance, but is quite interesting because it was never finished. One sees the cave today just as it was left, when excavation was abandoned in the late 5th century.

(Click any image to enlarge it)


Entrance
Cave 19, Ajanta
Cave 19 is a fine late-5th century chaitya. The entrance is surmounted by a large chandrasala. The sculptural program on the outside is a bit obscure, but has to do with Buddha ordaining his successors.

Interior
Cave 19, Ajanta
A standing Buddha, with sheer drapery covering his body, appears on the front of the stupa, which is topped by an impressive three-tiered umbrella. A barrel-vaulted roof with stone ribs arches above the central hall. The band between the column brackets and the roof is decorated with sculpted panels of the Buddha.
The interior is generally similar to cave 26.

Brackets and roof panels
Cave 19, Ajanta
An impressive variety of decoration on the brackets and panels includes Buddha images, flying celestials, mounted riders, vegetation, and lion heads set at intervals above the panels. Comparable decoration is found in cave 26.

Interior
Cave 26, Ajanta
The interior of cave 26 (late 5th century) is larger than, but similar to, cave 19. The Buddha on the front of the stupa is seated rather than standing, and is framed by a straight lintel rather than an arch.

Seated Buddha
Cave 26, Ajanta
From the front of the stupa. Buddha is seated on a lion throne with legs apart, his left hand in vitarka mudra, his right forearm broken off. The Buddha's feet rest on a lotus footstool. He is flanked by riders and flying attendants.

Roof Panels
Cave 26, Ajanta
Like its counterpart cave 19, cave 26 is richly decorated with panels of Buddhas, attendants, flying figures, lion heads, and foliage.

Standing Buddha
Cave 26, Ajanta
The standing Buddha, wearing transparent garments, is flanked by chauri bearers in this niche sculpture

Parinirvana (detail)
Cave 26, Ajanta
A very striking sculpture in cave 26 is this very large (7m, or about 21 feet) reclining Buddha, in the pose which depicts his death or parinirvana. The peacefulness of Buddha's expression reflects his blissful leave-taking from the world of material existence.