AJANTA
The
addition of new excavations could be noticed again during the period of
Vakatakas, the contemporaries of the Imperial Guptas. The caves were caused to
be excavated by royal patronage and the feudatories under the Vakatakas as
illustrated by the inscriptions found in the caves. Varahadeva, the minister of
Vakataka king Harishena (A.D. 475-500) dedicated Cave 16 to the Buddhist Sangha
while Cave 17 was the gift of a prince (who subjugated Asmaka) feudatory to the
same king. The flurry of activities at Ajanta was between mid 5th century A.D.
to mid 6th century A.D. However, Hieun Tsang, the famous Chinese traveller who
visited India during the first half of 7th century A.D. has left a vivid and
graphic description of the flourishing Buddhist establishment here even though
he did not visit the caves. A solitary Rashtrakuta inscription in cave no. 26
indicates its use during 8th – 9th centuries A.D. The second phase departs from
the earlier one with the introduction of new pattern in layout as well as the
centrality of Buddha image, both in sculpture as well as in 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.
Ajanta
caves Ajanta caves The Buddhist rock-hewn Ajanta caves, are only about 59
kilometers from jalgaon (Railway station on Delhi Mumbai
& Allahabad Mumbai mail
line of the Central railways); and from Aurangabad 104 kilometers (From
Ellora 100 Kilometers). At the end of seventh century, Buddhism began to
decline in the land of its origin and its shrines fell into desolation and
ruin. For a thousands years, Ajanta caves lay buries in the jungle-clad slopes
of the western mountain range, until in 1819 it was discovered accidentally.
The isolated scrap of horse shoe shaped rock rising over a ravine to a steep
height of 76.20 meter (250 ft.) made an ideal site for the monastic sanctuary.
Limited in space, the Ajanta caves had to be more compact than those of Ellora
caves. Most of them ware of an earliest date, the oldest belonging tp pre
Christian times. The architectural and sculptural values in these rock temples
are surpassed by the addition of third art form, painting, which, more than all
else has given Ajanta its world fame. Having seen these cave temples the
visitor will perhaps wonder at the profusion of secular hemes and motifs on the
walls. He may be bewildered by the uninhibited vivacity of the female figures,
the famous Ajanta type with
well curves forms, elongated eyes, monks and their associates painted
side by side and with equal zest the physical beauty of women and the spiritual
beauty of the Boddhidattva.
There the thirty caves, some of them
unfinished and negligible. Sixteen contains mural (wall paintings) paintings, but the best work is to be found
in Caves 1, 2, 16, 17, and 19. The best sculptures are in caves 1, 4, 17, 19,
24, and 26. The numbering of the caves has been done in consecutive order and
has no relation to their chronological sequence. It starts at the western
extremity of the rock, near the entrance. The present entrance does not seem to
have been the original approach to the excavations. Five of the caves 9,10, 19,
26 and 29 are chaitya-halls. The other are vihars. As for antiquity the oldest
(second century B.C. to second century A.D.), the creation of the Hinayan
system, are chaityas caves 9 and 10, and viharas 8, 12, 13, and 30. The others,
excavated after a long interval, belong to the fifth and sixth centuries and
make the Mahayana series. In older times, each cave had flights of steps which
led to the picturesque stream flowing deep down through a narrow gorge. With
the collapse of cave front most of these steps have been destroyed. Caves
1,2,16 and 17 are fitted with spotlights, available for use on payment. There
use is essential.
Ajanta Cave paintings the technique employed
by the painters in the ancient India has been described in contemporary works
on aesthetics. First, a rough plaster of clay, cow-dung and rice-husks ware lay
upon the selected rock surface and thoroughly pressed in. It made a layer about
one and half centimeter in thickness. On this coat of fine lime was spread in
order to attain a smooth surface. The outline was drawn with brush and then
color was applied. The pigments used were of the simplest kind of materials
such as yellow earth, red ocher (गेरू),
green rock crushed into burnt duct brick, lamp black and copper oxide. A second
was then applied. Through this the outline was dimly visible. Other brushes
were used to fill in color until the picture, in the language of ancient
Aesthetics, bloomed. Finally,
plastic relief was attained by shading with darker lines and toning the
highlights. The central theme on the walls comes under two heads-narrative
scenes from the Buddhas
life and illustrations of Jataka Fobles. Within this framework of spirituality
an entire pageant of contemporary life has been vividly covered. Depicted on
these walls is the portraiture not only of the Buddha and the Bodhisattvas, but
of a wide range or human types in different attitudes, under the stress of
varied emotions and drawn from every social level. The paintings on the
ceiling, unlike those on the walls, are mainly decorative patterns. They
include geometric designs, floral and ornamental motifs, flying figures of
celestial beings, animals, birds, plants. The grouping in panels or
compartments is with adequate variation in color schemes.
Cave
1: Cave 1 is one of the finest examples of vihara architecture evolved towards
the end of fifth century. The facade is lavishly ornamented, its beauty
enhanced by six richly carved columns on the verandah. Their shafts are adorned
with tracery-work and the bracket capitals have flying figures. The ornate
doorway leaps into a big hall, 19.5 meter (64 ft.). On these sides there are
rows of cells. Beyond the ante-chamber facing the entrance is huge Buddha image
grouped with the masters first
five disciples and others. One central pillar in the right row has a
curious carving done with remarkable realism; four deer in different positions
have a single head which seems to belong to each one. The entire wall space and
ceiling as also the pillars in the cave had once been painted. Much of the work
has peeled off, but enough of great value has survived. This includes a few
masterpieces. The paintings mainly illustrate Jataka, stories. A typical one,
at the left of the main entrance, has been identified with Sibi Jataka. The
story goes that a pigeon, chased by a hawk, sought the protection of king Sibi,
who was a Bodhisattva. The hawk came in pursuit and demanded its lawful prey.
King Sibi struck bargain to save the little birds
life. He gave the hawk a measure of his own flesh equal to the birds weight. The pigeon is seen there
in the kings lap (extreme left) and beyond a pavilion the king stands by
a pair of scales (right). The side-walls of the antechamber present remarkable
scenes from the Buddhas life
in large-scale compositions. The one at the left visualizes a moment
when Gautam, at the end of seven years of seeking, was about to attain
Enlightenment. Even since the time he had left his palace and taken to the
ascetics life Mara, the Evil
one, had been at his heels. Turn
back, Mara had bidden, the jewel wheel of empire will be yours. Since Gautam scorned the
prospect, Mara had made the threat. Whenever
you have a bad thought I shall know. For seven years, Mara had followed
Gautam like his shadow and when it appeared that the supreme moment was near,
Mara, in alarm made one more bid. He let loose the force of seduction, his own
beautiful daughters disporting themselves before the ascetic. The composition
on the right wall is the Miracle
of Sravasti. Here the Buddha has turned himself into hundreds of Buddhas in different attitudes. The wall
of the back corridor, to the left and right of the ante-chamber,
contains two majestic Bodhisattvas which are among the Ajanta masterpieces. The
one to the left is Padmapani. His eyes are lowered meditatively: his face has
depths of spiritual calm born of compassion for all living forms. This great
picture has fascinated the art-critics of many countries. Beside the
Bodhisattva is his attractive wife, a dark beauty who had featured often in
Ajanta reproductions. The left corner of the composition has divine figures and
at the right, monkeys and peacocks are seen joyous-frolic. The other
Bodhisattvas, Vajrapani, are richly bejeweled. He leans gracefully against an
attendant. A king offers him flowers. At the bottom are two dark women, and
thought the paint has largely peeled off the delicacy of treatment is obvious.
Cave2.
Cave 2 is somewhat alike in plan to cave 1. The varandhah has a lovely painted
ceiling. Among the excellent murals, one on the left wall of the hall, near the
third cell-door, dramatizes the legend of the Buddhas birth with some vivid panels. In the panel above the
cell door the Bodhisattva is seen in one of the heavens. He has already
passed through a cycle of birth and rebirth on earth and now that he will have
to be born for the last time he selects the place of his ultimate mission. It
is to be a place in India close to the Himalayan reign, and queen Maya is to be
his mother. Maya has a strange dream (bottom left panel, this is badly
damaged). While she sleeps in her bed chamber, a white elephant above the dream
(the last panel above). The Brahmans
at the royal court are invited to interpret its meaning (panel to the
right). Their predictions is that the queen is about to bear a son with the
entire world for the ascetic life, he would become a Buddha. Maya, on her
father’s place with her ladies-in-waiting,
stops awhile at the Lumbini garden and here the pains of childbirth come
upon her and the nativity takes place (lower panel).The new born child walks to
the east he says, I shall
attain the highest release. As
he walks southward he says, I shall be the first of all created beings. And finally, I shall cross the
ocean of existence. On
the right wall of the front corridor a painting in a bad stage of
preservation is recognized as a superb piece of work. It shows a king, sword in
hand, about to punish women for some reason. The woman is on her knees, begging
for mercy. Her attitude is full of pathos: there is pleading in every curve of
her slender body, graceful rendered: the figures are eloquent: the clothes are
disheveled, huddled on the floor. Here is a picture rich in feeling and with
great beauty of form. The chapels on each side of the ante-chamber have good
murals. The one to the right has female figures which have been compared by art
ceiling like Axel Jarl to Botticellis
Primavera. No less remarkable are perhaps the best. One of the
ceiling-panels shows a procession of twenty-three geese rendered with great
skill.
Cave 4, Caves 4 are the largest Vihara at
Ajanta. The decorated main entrance leads to a hall with twenty-eight pillars.
To the right of the door is the carving of a Bodhisattva to whom devotees are
praying for deliverance from the eight fears. The figures in niches and door
jambs are full of good sculptural details. A man and women are seen flying from
a mad elephant. A women leans against a trunk with a playful squirrel. A man
lured by a temptress looks helpless and lost.
Cave 5: after ascending some steps there are Shal Bhanjikays
on both sides of the entrance gate.
Cave 6: is two storeyed, the only Vihara of its kind. The
influence of domestic architecture is plainly suggested. There are numerous
Buddha figures in varied studies.
Cave 7, the plan and the pillars of this cave of different
style.
Cave 8, there is arrangement
of electricity in this cave.
Cave
9, a chaitya-hall, is assigned to the first century B.C. Here are many themes
and motifs from everyday life; for instance, the frieze of herdsmen running
after cattles. The row of
austre Buddha figures on the columns, the scene on the walls at the
back, the fragments of painting over a window these typical examples of Hinayana art stands
in contrast to the vivacity of later times.
Cave
10, also is a prayer-hall and similar to cave 9, though it is much larger. An
inscription on the front indicates its date as an early decade of second
century B.C. this is the oldest of the chaityas, and possibly the earliest of
all the Ajanta excavations. Of special interest are the examples of the ancient
painting. The left wall opposite the third pillar shows a royal personage with
a retinue of solder, dancers and musicians. The dresses, jewelry and coiffures
of that remote period add to the interest of these pictures, even though are
somewhat obscured by layers of deposit.
Cave
11, only few paintings are left in this cave. Cave 12 the cave contains hinyan
vihar, and on the three sides of the cave are living places for Buddhist Saints
also beds made of stone are shown in this cave. Cave 13. This cave is used by
Indian Archaeological Department as their store.
Cave
16: this point commands a good view of a river. Down the slope, the entrance
gate is carved with an elephant on either side. Here the stairway leading to
the river has survived in part. This could have been the original approach to
the temples. The architectural beauty of this cave temple makes it one of the
most striking in the series. An inscription on the left end wall outside the
verandah gives its history; a Minister of the royal court had it excavated as a
gift for the best of ascetics. The date is late sixth century.
The verandah has octagonal columns. The roof of the front aisle carries
the contour of beams and rafters, an imitation of wooden construction of the
time. The square windows for lighting the hall and the Buddha image make an
architectural feature. Not many of the paintings have survived. The nativity
story started in cave 2 is continued here in number of panels on the right
wall. Young Gautama goes to school and practices archery. He witnesses a ploughing
contest and the sight of the tired toilers in the fields and the bleeding oxen
throws into his first meditation about life’s realities, at the extreme right of
the panel there is Maya Gautam’s mother, fast asleep, and the
circular pavilion at its left shows: he royal couple possibly discussing
the strange dream. The masterpiece in the cave is painting next to the front
plaster of the left wall, famed as the
dying princess. There
is agony in the drooping, sightless eyes, the helpless abandon of
fingers, and the farewell gestures. The emotion of the attendant beside the
princess is well expressed in their faces and attitudes. The princess is
possibly Sundari, the broken hearted wife of the Buddha’s half-brother Nanda, who left his palace and
gave himself to monastic life. J. Griffiths has commented. For pathos and sentiment and the
unmistakable way of telling its story, this picture, I consider, cannot
be surpassed in the history of art, the Florentines could have put better
drawing and the Venetians better color, but neither could have throws greater
expression into it.
Cave 17: Cave 17 is in its
design very much like Cave 16, and belongs to the same, but it has in addition
an ante-chamber. Its entrance, with the decorative panels and the female
figures embellishing the corner projections, is considered to be a thing of supreme artistic
value. This cave temple has
the largest number of paintings in good condition and they include
several outstanding ones. Murals decorate the walls and ceilings of the portico
and the walls of the great hall and corridors. On the portico’s left wall, there is the wheel of life depicting life
in its different phases. This wheel is still a living symbol in Tibetan
monasteries. The adjoin wall has an intimate posture in a place pavilion; the
prince holds out a cup of wine to his wife. Then the two proceed to the city
gate. There is a large grouping of many human types. The flying gandharvas and
apsaras are fascinating in their sensitive lines and their true purity form. A
mural on the portico’s right wall illustrates the
subjugation of a charging elephant, one of the eight great miracles
attributed to the Buddha. Devadatt a, the Buddha’s jealous cousin, made three
attempts the Great Ones’s life. When the first two
failed, he set an enraged elephant against the Master. The beast as it came
charging, stopped and prostrated itself in submission. Inside the cave, the
front corridor, left, presents a famous Jataka story. The Bodhisattva was once born in the Himalayan
region as an elephant, the chief of a herd of eight thousand. He had two wives
and happened to offend one of them. With the prayer to be reborn as a fair
maiden and to become the queen of Banaras (Varanasi), so that she could avenge
herself, she pined away and died. Her wish was fulfilled. In her position of
power, she commissioned a hunter to bring to her the tusks of chief of the
herd. The hunter having hit the elephant with a poisoned arrow struggled in
vain to saw off the huge tusks. The Bodhisattva himself came to the hunter’s aid, pulling of his tusks
and offering them as a gift to the queen. At right of them queen was stuck with
remorse and died heart-break.
The theme of self-sacrifice recurs often in these jataka pictures. One
that covers a great a part of the left wall is based on the same idea and it
also depicts a figure of great cruelty. The story goes that: the bodhisattva, born as price
Visyanara, had a cravibf to give in charity whatever he possessed. When
he had parted with the state elephant, which had the magical power to bring
rain, the people of the kingdom forced him into exile. With him in the chariot
went his wife and two little children. On his way he made a gift of chariot
horses. Now they had to go on foot. When another supplicant appeared and asked
for the children. The prince gave them away as well. The painting which presents this theme is badly
preserved; but the supplicant’s
intention depriving the exiled prince of his last treasures makes a
striking portrayal. A large composing on the right wall is recognized as a
great work of art. The story recounts Prince Simhala conquest of Ceylon. Shipwrecked, Simhala with his five
hundred merchants was cast ashore on an island of ogresses who noticed
them in the guise of beautiful women. Howell, amid the revelry, Simhala sensed
danger and forthwith made his escape on the back of a flying white horse who
was a Bodhisattva. One of the ogresses went in pursuit. Her beauty captivated
the ruler of Simhalas
homelands. He married her and was presently devoured by his spouse.
Simhala rose to the occasion. He chased out the ogre and then led an expedition
on the enchanted island where his men had perished. Conquest followed and the
victor becomes the king of island.
The sections of this painting threat treat realistically a line of boats
ashore, a charming group of dancers, a procession of elephants and finally the
coronation. This painting is a
work of art of great worth for the ensemble of the grandiose composition. The pilaster next to this mural
has an attractive toilet scene in which a young, self-absorbed woman
holds a mirror before her face and beatifies herself. The back wall of the
anti-chamber contains the excellent mother
and Child before Buddha. The Master’s return to his palace door,
a begging bowl in his hand. The baby boy he had left is now seven year old. At
his mother’s bidding, young
Rahula begs of the Buddha his rightful inheritance as a son. Havell
wrote in its exquisite sentiment it is comparable with the wonderful Madonna’s of Giovani Beliini Lawrence
Binyon called this picture: One
of the most unforgettable things in Ajanta, adding that no picture
any-where more profoundly impressive in grandeur and in tenderness.
Cave
18. is the one of the smallest cave and water tank is kept over here.Cave19 is
a chaitya-hall of the late Mahayana period, has an exquisitely carved fade with many large Buddha figures in
relief. The great arched window ads to its grandeur. Boldly conceived
and superbly executed in minute detail, this chapel is regarded as one of the
best example of Buddhist art. With its large number of stone figures it has
aptly been called, the
sculptors treasure chest.
Cave 20, is again a good
architectural study. The fights of steps here have a carved balustrade.
The verandah pillars have capitals sculptures with attractive female studies.
Cave
21. This cave is shows as Audience hall and attractive sculptures are shown in
verandah with some good paintings.
Cave 24, is the second largest of these
excavations, and the cave could have been one of the most impressive in the
series, if completed. The bracket capitals of its verandah columns and the
lintel of the door have beautiful figures.
Cave
26, is almost as crowded with sculpture as cave 19, but this Chaitya-hall is
larger in size. It has a colossal reclining Buddha figure representing Parinivana in
a grouping of kings and queens and monks. The same wall presents a
relief of the
temptation of the Buddha. A theme seen in mural in Cave 1-on the left
is Mara seated on an elephant and assaulting Gautam with his demon
forces. On the right is Mara’s retreat. In the foreground his
daughters are trying to tempt the Great Ascetic. Note: this is just for
the information of tourist that from cave 21 to 25 are not of interest. Some of
them are incomplete. Ajanta caves are close on Monday. Entry fee is Rs. 10/-
per person from Indians & US$ 10 for foreign tourist, light charge is
