art and architectures features of ajanta caves
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Caves of the first (Satavahana) period.
Caves of the later, or Vākāṭaka, period.
Discovery by the Western world.
Site.
Monasteries.
Worship halls.
Hindu and Buddhist builders.
Caves of the later, or Vākāṭaka, period.
Discovery by the Western world.
Site.
Monasteries.
Worship halls.
Hindu and Buddhist builders.
Answered by
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Ajanta caves
site
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. 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.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 and Aurangabad 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.
Monasteries
The majority of the caves are vihara halls with symmetrical square plans. To each vihara hall are attached smaller square dormitory cells cut into the walls.A vast majority of the caves were carved in the second period, wherein a shrine or sanctuary is appended at the rear of the cave, centred on a large statue of the Buddha, along with exuberantly detailed reliefs and deities near him as well as on the pillars and walls, all carved out of the natural rock.This change reflects the shift from Hinayana to Mahāyāna Buddhism. These caves are often called monasteries.The central square space of the interior of the viharas is defined by square columns forming a more-or-less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors.The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue.The viharas of the earlier period are much simpler, and lack shrines.Spink places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.
worship halls
The other type of main hall architecture is the narrower rectangular plan with high arched ceiling type chaitya-griha – literally, "the house of stupa". This hall is longitudinally divided into a nave and two narrower side aisles separated by a symmetrical row of pillars, with a stupa in the apse.The stupa is surrounded by pillars and a concentric walking space for circumambulation. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave. The oldest worship halls at Ajanta were built in the 2nd to 1st century BCE, the newest ones in late 5th century CE, and the architecture of both resembles the architecture of a Christian church, but without the crossing or chapel chevette.
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site
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. 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.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 and Aurangabad 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.
Monasteries
The majority of the caves are vihara halls with symmetrical square plans. To each vihara hall are attached smaller square dormitory cells cut into the walls.A vast majority of the caves were carved in the second period, wherein a shrine or sanctuary is appended at the rear of the cave, centred on a large statue of the Buddha, along with exuberantly detailed reliefs and deities near him as well as on the pillars and walls, all carved out of the natural rock.This change reflects the shift from Hinayana to Mahāyāna Buddhism. These caves are often called monasteries.The central square space of the interior of the viharas is defined by square columns forming a more-or-less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors.The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue.The viharas of the earlier period are much simpler, and lack shrines.Spink places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.
worship halls
The other type of main hall architecture is the narrower rectangular plan with high arched ceiling type chaitya-griha – literally, "the house of stupa". This hall is longitudinally divided into a nave and two narrower side aisles separated by a symmetrical row of pillars, with a stupa in the apse.The stupa is surrounded by pillars and a concentric walking space for circumambulation. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave. The oldest worship halls at Ajanta were built in the 2nd to 1st century BCE, the newest ones in late 5th century CE, and the architecture of both resembles the architecture of a Christian church, but without the crossing or chapel chevette.
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please mark as brainlist
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