Art and architecture of Buddhist caves in 500 words
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The Ajanta Caves are 30 (approximately) rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 CE in Aurangabad district of Maharashtra state of India.[1][note 1] The caves include paintings and rock-cut sculptures described as among the finest surviving examples of ancient Indian art, particularly expressive paintings that present emotion through gesture, pose and form.[2][3][4]
According to UNESCO, these are masterpieces of Buddhist religious art that influenced the Indian art that followed.[5] The caves were built in two phases, the first phase starting around the 2nd century BCE, while the second phase was built around 400–650 CE, according to older accounts, or in a brief period of 460–480 CE according to later scholarship.[6] The site is a protected monument in the care of the Archaeological Survey of India,[7] and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.
The Ajanta Caves constitute ancient monasteries and worship-halls of different Buddhist traditions carved into a 250-feet wall of rock.[8][9] The caves also present paintings depicting the past lives and rebirths of the Buddha, pictorial tales from Aryasura's Jatakamala, and rock-cut sculptures of Buddhist deities.[8][10][11] Textual records suggest that these caves served as a monsoon retreat for monks, as well as a resting-site for merchants and pilgrims in ancient India.[8] While vivid colours and mural wall-painting were abundant in Indian history as evidenced by historical records, Caves 16, 17, 1 and 2 of Ajanta form the largest corpus of surviving ancient Indian wall-painting.[12]
The Ajanta Caves are mentioned in the memoirs of several medieval-era Chinese Buddhist travellers to India and by a Mughal-era official of Akbar era in the early 17th century.[13] They were covered by jungle until accidentally "discovered" and brought to Western attention in 1819 by a colonial British officer Captain John Smith on a tiger-hunting party.[14] The Ajanta Caves are located on the side of a rocky cliff that is on the north side of a U-shaped gorge on the small river Waghur,[15] in the Deccan plateau.[16][17]Further round the gorge are a number of waterfalls, which, when the river is high, are audible from outside the caves.[18]
With the Ellora Caves, Ajanta is one of the major tourist attractions of Maharashtra. It is about 6 kilometres (3.7 miles) from Fardapur, 59 kilometres (37 miles) from the city of Jalgaon, Maharashtra, India, 104 kilometres (65 miles) from the city of Aurangabad, and 350 kilometres (220 miles) east-northeast from Mumbai.[8][19] It is 100 kilometres (62 miles) from the Ellora Caves, which contain Hindu, Jain and Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta style is also found in the Ellora Cavesand other sites such as the Elephanta Caves, Aurangabad Caves, Shivleni Caves and the cave temples of Karnataka.[20]
According to UNESCO, these are masterpieces of Buddhist religious art that influenced the Indian art that followed.[5] The caves were built in two phases, the first phase starting around the 2nd century BCE, while the second phase was built around 400–650 CE, according to older accounts, or in a brief period of 460–480 CE according to later scholarship.[6] The site is a protected monument in the care of the Archaeological Survey of India,[7] and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.
The Ajanta Caves constitute ancient monasteries and worship-halls of different Buddhist traditions carved into a 250-feet wall of rock.[8][9] The caves also present paintings depicting the past lives and rebirths of the Buddha, pictorial tales from Aryasura's Jatakamala, and rock-cut sculptures of Buddhist deities.[8][10][11] Textual records suggest that these caves served as a monsoon retreat for monks, as well as a resting-site for merchants and pilgrims in ancient India.[8] While vivid colours and mural wall-painting were abundant in Indian history as evidenced by historical records, Caves 16, 17, 1 and 2 of Ajanta form the largest corpus of surviving ancient Indian wall-painting.[12]
The Ajanta Caves are mentioned in the memoirs of several medieval-era Chinese Buddhist travellers to India and by a Mughal-era official of Akbar era in the early 17th century.[13] They were covered by jungle until accidentally "discovered" and brought to Western attention in 1819 by a colonial British officer Captain John Smith on a tiger-hunting party.[14] The Ajanta Caves are located on the side of a rocky cliff that is on the north side of a U-shaped gorge on the small river Waghur,[15] in the Deccan plateau.[16][17]Further round the gorge are a number of waterfalls, which, when the river is high, are audible from outside the caves.[18]
With the Ellora Caves, Ajanta is one of the major tourist attractions of Maharashtra. It is about 6 kilometres (3.7 miles) from Fardapur, 59 kilometres (37 miles) from the city of Jalgaon, Maharashtra, India, 104 kilometres (65 miles) from the city of Aurangabad, and 350 kilometres (220 miles) east-northeast from Mumbai.[8][19] It is 100 kilometres (62 miles) from the Ellora Caves, which contain Hindu, Jain and Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta style is also found in the Ellora Cavesand other sites such as the Elephanta Caves, Aurangabad Caves, Shivleni Caves and the cave temples of Karnataka.[20]
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The caves are carved out of flood basalt rock of a cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous geological period. The rock is layered horizontally, and somewhat variable in quality.[51] This variation within the rock layers required the artists to amend their carving methods and plans in places. The inhomogeneity in the rock have also led to cracks and collapses in the centuries that followed, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; as evidenced by some of the incomplete caves such as the partially-built vihara caves 21 through 24 and the abandoned incomplete cave 28.
The sculpture artists likely worked at both excavating the rocks and making the intricate carvings of pillars, roof and idols; further, the sculpture and painting work inside a cave were an integrated parallel tasks. A grand gateway to the site was carved, at the apex of the gorge's horseshoe between caves 15 and 16, as approached from the river, and it is decorated with elephants on either side and a nāga, or protective Naga (snake) deity.[54]Similar methods and application of artist talent is observed in other cave temples of India, such as those from Hinduism and Jainism. These include the Ellora caves, Ghototkacha caves, Elephanta Caves, Bagh Caves, Badami Caves, Aurangabad Caves and Shivleni Caves.
The caves from the first period seem to have been paid for by a number of different patrons to gain merit, with several inscriptions recording the donation of particular portions of a single cave. The later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites, again for merit in Buddhist afterlife beliefs as evidenced by inscriptions such as those in Cave 17. After the death of Harisena, smaller donors motivated by getting merit added small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.
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The sculpture artists likely worked at both excavating the rocks and making the intricate carvings of pillars, roof and idols; further, the sculpture and painting work inside a cave were an integrated parallel tasks. A grand gateway to the site was carved, at the apex of the gorge's horseshoe between caves 15 and 16, as approached from the river, and it is decorated with elephants on either side and a nāga, or protective Naga (snake) deity.[54]Similar methods and application of artist talent is observed in other cave temples of India, such as those from Hinduism and Jainism. These include the Ellora caves, Ghototkacha caves, Elephanta Caves, Bagh Caves, Badami Caves, Aurangabad Caves and Shivleni Caves.
The caves from the first period seem to have been paid for by a number of different patrons to gain merit, with several inscriptions recording the donation of particular portions of a single cave. The later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites, again for merit in Buddhist afterlife beliefs as evidenced by inscriptions such as those in Cave 17. After the death of Harisena, smaller donors motivated by getting merit added small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.
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