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About Ajanta Caves
The Ajanta Caves are situated at a distance of 107 km north of Aurangabad, the district headquarters. The caves attained the name from a nearby village named Ajanta located about 12 km. These caves were discovered by an Army Officer in the Madras Regiment of the British Army in 1819 during one of his hunting expeditions. Instantly the discovery became very famous and Ajanta attained a very important tourist destination in the world. The caves, famous for its murals, are the finest surviving examples of Indian art, particularly painting.
These caves are excavated in horse shoe shaped bend of rock surface nearly 76 m in height overlooking a narrow stream known as Waghora. The location of this valley provided a calm and serene environment for the Buddhist monks who retreated at these secluded places during the rainy seasons. This retreat also provided them with enough time for furthering their religious pursuits through intellectual discourses for a considerably longer period. The caves were excavated in different periods (circa. 2nd century B.C. to 6th century A.D.) according to the necessity. Each cave was connected to the stream by a flight of steps, which are now almost obliterated, albeit traces of some could be noticed at some places.
In all, total 30 excavations were hewn out of rock which also include an unfinished one. Out of these, five (cave no. 9, 10, 19, 26, and 29) are chaityagrihas and the rest are viharas. In date and style also, these caves can be divided into two broad groups. The earliest excavations belong to the Hinayana phase of Buddhism of which similar examples could also be seen at Bhaja, Kondane, Pitalkhora, Nasik, etc. In total, 5 caves at Ajanta belong to this phase, viz., 9 & 10 which are chaityagrihas and 8, 12, 13, & 15A which are viharas. These caves are datable to the pre-Christian era, the earliest among them being Cave 10 dating from the second century B.C. The object of worship is a stupa here and these caves exhibit the imitation of wooden construction to the extent that the rafters and beams are also sculpted even though they are non-functional.
Location – Ajanta Caves Road, Ajanta 431001, India
Timings – Open from 9 A.M. to 5 P.M.
Closed on Monday
Entrance Fee
Citizens of India and visitors of SAARC (Bangladesh, Nepal, Bhutan, Sri Lanka, Pakistan, Maldives and Afghanistan) and BIMSTEC Countries (Bangladesh, Nepal, Bhutan, Sri Lanka, Thailand and Myanmar) – Rs. 30 per head.
Others:Indian Rs. 500/- per head
(children up to 15 years free)
History
The paintings and sculptures dating back to the beginning of the era of classical Indian art. They are sought to be one of the most beautiful caves in India. The mesmerising charm of the caves takes us back to 2nd Century BC and 6th Century AD. They are a marvellous piece of art in Indian history. Ajanta caves comprise of 30 rock-cut Buddhist cave monuments. The caves portray the Buddhist culture and stories expressed in the form of numerous sculpture and paintings. They also relate to the popular Jataka Tales. The basic design and layout of the caves are called Chaityagrihas and Viharas.
Ellora is one of the largest rock-cut monastery temple caves. It has the largest single monolithic rock-cut temple in the world, popularly knows as the Kailash temple. The 12 large caves mainly comprise of Viharas (monasteries). It constitutes of various shrines of Budha of Bodhisattva Saints. The most famous cave is called the Chaitya Hall or Carpenter’s Cave. In the centre of this cave is a massive 15 feet tall Budha Statue. Visiting Ajanta and Ellora is like travelling back in time. It will leave you spellbound.
Beautiful Paintings
The world famous paintings at Ajanta also fall into two broad phases. The earliest is noticed in the form of fragmentary specimens in cave nos. 9 & 10, which are datable to second century B.C. The headgear and other ornaments of the images in these paintings resemble the bas-relief sculpture of Sanchi and Bharhut.
The second phase of paintings started around 5th & 6th centuries A.D. and continued for the next two centuries. The specimen of these exemplary paintings of Vakataka period could be noticed in cave nos. 1, 2, 16 and 17. The variation in style and execution in these paintings also are noticed, mainly due to different authors of them. A decline in the execution is also noticed in some paintings as indicated by some rigid, mechanical and lifeless figures of Buddha in some later period paintings. The main theme of the paintings is the depiction of various Jataka stories, different incidents associated with the life of Buddha, and the contemporary events and social life also. The ceiling decoration invariably consists of decorative patterns, geometrical as well as floral.
The paintings were executed after elaborate preparation of the rock surface initially. The rock surface was left with chisel marks and grooves so that the layer applied over it can be held in an effective manner. The ground layer consists of a rough layer of ferruginous earth mixed with rock-grit or sand, vegetable fibres, paddy husk, grass and other fibrous material of organic origin on the rough surface of walls and ceilings. A second coat of mud and ferruginous earth mixed with fine rock-powder or sand and fine fibrous vegetable material was applied over the ground surface. Then the surface was finally finished with a thin coat of lime wash. Over this surface, outlines are drawn boldly, then the spaces are filled with requisite colours in different shades and tones to achieve the effect of rounded and plastic volumes. The colours and shades utilised also vary from red and yellow ochre, terra verte, to lime, kaolin, gypsum, lamp black and lapis lazuli. The chief binding material used here was glue. The paintings at Ajanta are not frescoes as they are painted with the aid of a binding agent, whereas in fresco the paintings are executed while the lime wash is still wet which, thereby acts as an intrinsic binding agent.
Architecture of Ajanta
Much like the murals and sculptures, architectural elements too evolved continuously under differing influences and motivations. In as much as Ajanta was an application of hereditary knowledge, it was also informed by a process of constant discovery and learning, incorporation of new ideas and forms from other sites such as Bagh, and an ever evolving artistic vocabulary. The architecture of the cave complex is unique because it reflects the ever improving proficiency of the craftsmen, educated in an architectural style already highly developed but unfamiliar with the rock-cut medium. Ajanta in its full flourish therefore represents a successful integration of the splendour of contemporary structures with the peculiarities and potentials of basaltic medium.
As previously alluded to, there are five chaitya in the cave complex with the rest being vihara. A chaitya is apsidal or rectangular in form with aisles on either side of a nave with a barrel roof. Each aisle is separated by a row of pillars. The nave contains a stupa, the object of worship, at the terminal end. The early chaityas meticulously imitated contemporary wooden structures as can be seen on the vaulted roof decorations and pillars.
In contrast to the early stupas of Caves 9 & 10, those built at later dates such as in Caves 19 & 26 have an image of Buddha sculpted on the front face. Another distinguishing feature of Cave 10 is its giant single arched entrance and relatively unadorned façade which gives way to a smaller doorway with a window positioned above. Skilfully decorated façades and pillared porticoes.
Interesting facts about the Ajanta Caves
- It is believed that several Buddhist monks spent a significant amount of time at the Ajanta caves during the monsoons as they were forbidden from travelling during that particular period of the year. This was the time when the monks put their creativity and time to use and painted the walls of the caves.
- It was only in 1819, when Jon Smith, who belonged to the 28th Cavalry accidentally chanced upon the horse-shoe shaped rock while hunting a tiger in and around the Deccan Plateau region. The entrance to the cave like structures intrigued the British official enough to make them cross the Waghora River in the vicinity and reach the caves. Soon, archaeological experts excavated the sites and the news of discovery of these caves spread like wild fire making it an instant hit among European travelers.
- Apart from the stunning paintings and sculptures, there were also huge Buddhist mounds like stupas built, massive pillars intricately detailed carvings on the ceilings and walls made big news, giving the Ajanta caves the status of a heritage site.
- It was soon studied that there were over 30 caves in the cave complex out of which one part of the complex was developed during the Satvahana period and the other was done during the Vakataka period. After closely studying several of these artefacts, historians and archaeologists speculated a connection between the Vakataka dynasty that ruled the region to the Gupta dynasty of north India.
- During the first phase of construction, the sanctuaries known as the Chaitya-grihaswere built in the canyons of the Waghora River. Caves 9, 10, 12 and 15 A were built in the first phase during the Satavahana dynasty.
- The second period of construction was carried out during the rule of Emperor Harishena of the Vakataka dynasty. Close to 20 cave temples were simultaneously built which resemble the modern day monasteries with a sanctum in the rear end of the structure.
- Towards the end of the reign of Harisena, these caves were abandoned and eventually forgotten through the centuries. The dense forests were partly to be blamed for camouflaging these caves.
- The Ajanta caves are home to paintings and sculptures that depict heavy influence of Buddhist philosophy and religious teachings of the Buddha. Various incidents from the life of Gautam Buddha and the Jataka Tales are represented and recreated on the walls of these caves. Scenes from the royal court of the respective eras are also painted.
- Through his life, Buddha was against the idea of sculpting and painting images of him. He preached that life was a process through which one must overcome desire in order to attain salvation or nirvana.
- However, after Buddha’s death, his followers who wanted to worship him, decided to paint his images so that they had something to hold on to while spreading the faith and teachings of the Buddha.
- At the entrance of the first of Ajanta caves, you will be greeted by a tall image of the Buddha. The doorway to the cave is decorated with auspicious motifs and the cave has numerous sculptures and paintings of Bodhisattvas Padmapani and Vajrapani; carvings of princesses, lovers, maids and dancing girls; scenes depicting the Persian Embassy, Golden Geese, Pink Elephants and Bull Fights.
- Though the caves are over 2,000 years old, the Buddha statues had been added close 600 years later.
Description of Caves
In total there are 29 – 30 cave chambers in Ajanta. Caves traditionally are numbered starting with the one closest to the village.
CAVE 1 – ROYAL VIHARA
One of the best preserved cave chambers in group, considered to be the most splendid Buddhist vihara in India. Possibly created to be a imperial cave of king Harishena. Paintings look fresh and are not damaged by sooth – thus it is possible that this cave was not used by monks.
Some details though have perished such as portico with two pillars seen in photographs from the 19th century. Cave can be entered through three doorways, two windows are located between doorways.
The facade of cave is adorned with elaborate, exquisite carvings depicting scenes from life of Buddha. Porch still contains remnants of murals which once covered most of the spacious porch.
Main hall is some 6 m high with a shrine located at the rear wall. Shrine contains statues of seated Buddha. There are cells along the walls of the main hall.
Paintings covering walls are in rather good state of conservation and belong to the best examples of ancient Indian art.
CAVE 2 – VIHARA
This monastery building is even better preserved than Cave 1. Contains exquisite, well preserved paintings on walls, ceilings and pillars. Design of porch differs from Cave 1, massive pillars are ornamented, walls covered with murals depicting the life of Buddha in his former incarnations as Bodhisattva. Contains also smaller shrines to lesser deities.
This cave in general is very rich with paintings – in some areas well preserved, in other – nearly lost.
CAVE 4 – VIHARA
The largest vihara in Ajanta Caves, created in the 5th century. Partly collapsed, most likely during the construction.
Inscription on the pedestal of Buddha in this vihara tells that the sculpture is a religious gift from private person.
CAVE 5 – VIHARA
Never completed – basically only porch, door and short distance after the door have been made. Still this cave contains beautiful sculptures.
CAVE 6 – VIHARA
The only double-story structure in Ajanta Caves. Walls of this cave are covered with thick layer of sooth from incense and lamps, damaging the exquisite artwork. Diverse paintings include a figure of devotee kneeling before Buddha.
CAVE 7 – VIHARA
Intented as an enormous vihara but not completed. Only very elaborate porch with few more details has been built. Exquisite paintings of the porch lost due to smoke.
CAVE 8 – VIHARA
Ancient structure, belonging to Hinayana school, created in the 2nd – 1st century BC.
CAVE 9 – SANCTUARY
Ancient structure, belonging to Hinayana school, created in the 2nd – 1st century BC. Contains ancient paintings which have been repainted at some later time. This is the cave which was discovered by Captain Smith in 1819 and it bears his inscription in pencil.
CAVE 10 – SANCTUARY
The oldest (as far as archaeological knowledge about Ajanta goes) structure in Ajanta dating from the 2nd century BC, architecture testifies its belonging to Hinayana school. Contains ancient paintings which have been repainted at some later time.
CAVE 11 – VIHARA
Possibly the oldest cave from the second period of Ajanta – from the 5th century.
CAVE 12 – VIHARA
Ancient structure, belonging to Hinayana school, created in the 2nd – 1st century BC.
CAVE 13 – VIHARA
Ancient structure, belonging to Hinayana school, created in the 2nd – 1st century BC.
CAVE 14 – VIHARA
Made in the late 5th century, never completed. Basically there is made rough doorway with sculptures of yakshis.
CAVE 15 – VIHARA
Ancient structure, belonging to Hinayana school, created in the 2nd – 1st century BC.
CAVE 16 – VIHARA
One of the best placed caves in the middle of complex. Cave chamber is adorned with beautiful paintings. Two elephant statues at the base of stairway leading to the cave. Porch is damaged.
Inscription testifies that this cave is dedicated to the Buddhist Sangha by Vaharadeva, the influential prime minister of king Harishena (around 475-500 AD). There are numerous important inscriptions rising scientific discussion about the history of Central India in 460 – 480 AD.
CAVE 17 – VIHARA
The richest collection of beautiful murals (especially ceiling), though in many places damaged by sooth from incense and lamps. Interesting accent is depiction of ancient Persian – Sassanian servant holding a Sassanian vessel on the left rear wall.
Inscription testifies that this structure is a gift of prince in time of king Harishena (around 475-500 AD).
CAVE 18 – VIHARA
Initially – possible side shrine, part of Cave 19. Over the time though developed as a cut-through between Cave 17 and Cave 19.
CAVE 19 – SANCTUARY
Magnificent chaytia from the late 5th century. Contains remnants of paintings including depictions of Buddha considered to be innovative by some art historicians. Facade of porch is very rich with adonrments.
CAVE 20 – VIHARA
Shrine from the 5th century AD. Contains impressive stairway while chamber has little of interest to offer. Cave contains murals – including depictions of mundane joys such as hunting.
CAVE 21 – VIHARA
The first cave behind periodic waterfall. Vihara from the 5th century AD, unfinished. Porch is well adorned and preserved.
CAVE 23 – VIHARA
Mostly unfinished, porch though contains interesting figures.
CAVE 24 – VIHARA
Mostly unfinished but doorway is beautifully carved. Sculptures of two river goddesses on upper corners of doorway. It is calculated that approximately 200 people were working here when works unexpectedly terminated.
CAVE 26 – SANCTUARY
Created in the late 5th century, a group of structures. Contains interesting drawings resembling a style of drawings at Ellora Caves. Porch adorned with numerous statues of Buddha as well as numerous other subjects. Famous sculptural group is Parinirvana scene along the whole length of cave.
Painting on ceiling includes the usual lotus-lake motive, but here several geese are added among lotuses.
CAVE 27 – VIHARA
Contains paintings at the right end of the front aisle as well as inscription which informs that monk – painter here attained transcendental personage through painting images of Buddha.
CAVE 29 – SANCTUARY
Here starts a fall of Vaghora River with seven cascades (sat-kund). Cave chamber is not finished, made in the 5th century.
Best Time to Visit
Ajanta caves are open throughout the year for tourists but closed on Every Monday. In any season of the year you can visit these caves. It has been observed that from October to April, tourists presence is more than other times of year due to good climatic condition and weather. Here Winter prevails from November to January and Summer season can be observed from March to June in which temperature touches more than 40°C in day time. Monsoon season is from June end to October. Here impact of Summer & Monsoon season is more than Winters due to which tourists prefers to visit during Winters till Autumn. According to convenience and wish, tourists can visit in any season of year.
How to Reach
Ajanta caves are located in North Maharashtra state in West India. It is towards Madhya Pradesh state border. It geographical location is at latitude 19.87617 and longitude 75.34331. Two cities can be considered best in reaching Ajanta caves i.e. Aurangabad (120kms) and Jalgaon (60kms). In between Aurangabad is well connected with good tourism infrastructure whereas Jalgaon is small town but located most suitably close to caves. More specific reaching information is given below:
By Air: Nearest airport for reaching Ajanta caves is at Aurangabad city. It is just 120kms/03:00hrs and have direct flights from two important international airports i.e. Delhi & Mumbai, at regular interval. Both of these airports have good connectivity of all important places in India. After reaching Aurangabad airport, one can reach caves by surface drive.
By Train: Nearest railway station for reaching Ajanta caves is at Jalgaon city (60kms) and second option is Aurangabad railway stations (120kms/03:00hrs). Here Jalgaon Junction railway station (Railway code: JL) have direct train connectivity with important cities & tourist destinations like Mumbai, New Delhi, Agra, Bhopal, Burhanpur, Gwalior, Jhansi, Goa, Pune, Bangalore, Satna, Varanasi, Allahabad etc. Similarly Aurangabad railway station (Railway code: AWB) is also well connected with cities like New Delhi, Bhopal, Agra, Gwalior etc. Railway connectivity of Jalgaon junction is better than Aurangabad station.
By Road: Ajanta caves have good road connectivity with Aurangabad and Jalgaon. Weather you are coming by flight or train, last journey will be by taxi as caves can be reached by road. It is little bit inside from Maharashtra State Highway-190 in 76 meter high U-shaped valley. One can travel by road from destinations like Indore (400kms), Mumbai (490kms), Mandu (370kms), Maheshwar (300kms), Burhanpur (150kms), Nagpur etc.
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