World Heritage Series

AJANTA

.L SURVEY OF INDIA
World Heritage Series

AJANTA
This is part of the series of guidebooks being
published by the Archaeological Survey of India
to showcase World Cultural Heritage Sites in India.
The book focuses on the Buddhist rock-cut caves
of Ajanta located amid the Sahyadri's dense foliage.

The caves are situated at a distance of 6.5 km from

the village of Fardapur in Aurangabad district of
Maharashtra. Fardapur lies 55 km from Jalgaon^.
which is also the nearest railhead. The nearest
airport is in Aurangabad city, 103 km away.

There are thirty caves at Ajanta, including the

unfinished ones, of which five are chaitya-grihas
and the rest, sanghdrdmas or vihdras (monasteries).
The earliest excavations at Ajanta date from the
second century BC. Excavation was revived on a much
more ambitious scale after a quiescence of about four
centuries. The most vigorous period of architectural
and artistic activity seems to have coincided with the
second half of the fifth century AD and the first half
of the sixth century AD.

The Ajanta caves are celebrated for their world

famous paintings that exhibit the skill and
imagination of consummate artists. The sculptures, KopsrQf

mostly dating from the fifth and sixth centuries AD,

Sh r
are remarkable for their classic qualities and exude
graceful elegance, restraint and serenity.

Akola

Entry Fee: $5 or Rs 250 for foreigners

Rs 10 for Indians
Free entry for children below 15 years
Still Photography: Free
Video Photography: Rs 25

Price Rs 99
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 Copyright © 2004
Archaeological Survey of India
Government of India

ISBN 81-87780-19-3

All rights reserved. No part of this publication may be

reproduced, stored in a retrieval system, or transmitted
in any form or by any means, electronic, mechanical,
photocopying, recording or otherwise, without
the prior permission of the copyright owner.

Printed by
Good Earth Publications, Eicher Goodearth Limited, New Delhi

Price: Rs 99
 Contents

General Information 6
Introduction 8
Description of Caves 21
Cave 1 21
Cave 2 38
Cave 3 45
Cave 4 45
Cave 5 47
Cave 6 47
Cave 7 48
Cave 8 50
Cave 9 50
Cave 10 53
Cave 11 55
Cave 12 56
Cave 13 57
Cave 14 57
Cave 15 57
Cave 15A 58
Cave 16 58
Cave 17 63
Cave 18 79
Cave 19 80
Cave 20 86
Cave 21 86
Cave 22 87
Cave 23 87
Cave 24 88
Cave 25 89
Cave 26 89
Cave 27 93
Cave 28 & 29 93
Recent Excavations 94
Select Bibliography 96
i
 World Heritage Series

AJANTA
R ock-cut caves near Ajanta, possessing perfect
specimens of Indian mural paintings were
discovered in 1819 by a band of British officers
while hunting a tiger.

These caves excavated in a semi-circular scarp

overlooking a narrow sinuous gorge, includes five
chaitya-grihas and some twenty-five vih^as or
monasteries. They were excavated between the second
century BC and seventh century AD and served as
sanctuaries for Buddhist monks during the monsoons.

The caves of Ajanta are famous for their architectural

qualities, graceful elegance and serenity of sculptures,
and above all, the world famous paintings that adorn
their interiors.

The paintings are intensely religious in tone and

theme and depict the lives and times of Buddha and
Bodhisattvas. They also act as a sort of illuminated
history of those times - court scenes, street scenes,
cameos of domestic life as well as animal and bird
sanctuaries. These murals have stood the test of the
highest standard of mural paintings.

I am hopeful that readers - both tourists and

academicians - would find the new format of the
guidebook informative and useful.

R.C. Misra
Director General (I/C)
Archaeological Survey of India
Of all the ancient The caves are situated at a
monuments in India, the distance of 6.5 km from the
rock-cut caves near Ajanta village of Eardapur in
(Latitude 20° 32'N and Aurangabad district of
Longitude 75° 45'E) have Maharashtra, on
won a unique place by Maharashtra State Highway
virtue of their having the No. 8. Eardapur lies 55 km
most perfect specimens of from Jalgaon, which is also
Indian mural paintings. the nearest railhead on the
Their reknown has spread Central Railway, 420 and
far and wide and is second 1120 km from Mumbai
to none in the country, and Delhi, respectively.
except probably that of the The nearest airport from
Taj Mahal. The name, Eardapur is at Aurangabad,
Ajanta casts a spell on the 103 km away.
Indian mind and conjures Eardapur is easily
up a vision of artistic approached by a motorable
excellence attained by the road from both Aurangabad
ancient painter's brush. and Jalgaon. There are
Ever since the discovery regular bus services to the
of the caves in the beginning caves up to the T-Junction
of the nineteenth century on the Aurangabad-Jalgaon
their paintings have road. The caves are located
influenced the artistic at a distance of 4 km from
pursuits in the country. the T-Junction and one has
They provided the greatest to board special shuttle
inspiration in the art-revival buses to reach the foothill
in the first quarter of the of the caves. These buses
twentieth century, as they had are both air-conditioned
influenced many centuries and non-air-conditioned
earlier, the art tradition not and tickets have to be
only of contemporary India bought for travelling
but also of Central Asia. on them.

6
There is no halting place free of charge. Tickets and
in Ajanta village which is publications can be
about 5 km (as the crow purchased at the booking
flies) from the caves. At office. For information
Fardapur there is a PWD regarding services of
guest-house and an guides, the Superintending
Inspection Bungalow, Archaeologist,
accommodation for which Archaeological Survey of
can be reserved by prior India, Aurangabad Circle,
application to the Collector may be contacted.
and Executive Engineer, Photographs of the
Aurangabad, respectively. monuments and paintings
Accommodation may also can be obtained on
be availed at Holiday payment from:
Resort at Fardapur run by
The Director General,
MTDC (Maharashtra
Archaeological Survey
Tourism Development
of India, Janpath,
Corporation). Visitors
New Delhi-110 Oil,
intending to halt near the
or
caves may contact the
District Forest Officer, The Superintending
Aurangabad, to reserve Archaeologist,
accommodation in the Archaeological Survey
Forest Bungalow. of India,
The caves are open Aurangabad Circle,
on all days (excluding Bibi-ka-Maqbara,
Mondays) from 9 am to Aurangabad - 431 004.
5.30 pm. An entry fee of
The visitor with limited
Rs 10 for Indian citizens
time at his disposal should
and Rs 250 or US $5 for
at least visit Caves 1, 2, 9,
foreigners is charged.
10,16,17,19 and 26.
Children below fifteen
years of age are admitted

7
 V -

'♦'ll?-.. ms

The caves at Ajanta are at work an artistic mind,

excavated in the semi¬ keenly appreciative of
circular scarp of a steep the beauties of nature.
rock, about 76 m high, The caves, excavated for
overlooking a narrow the use of the monks
sinuous gorge, through during their retreat in the
which flows the stream rainy season {varshavasa),
Waghora descending at the when the valley was, as it
head of the ravine beyond is even now, at its best in
Cave 28 in a waterfall of verdant beauty, with the
seven leaps, known as stream attaining its utmost
Satkund. From Cave 16 breadth and volume,
the visitor can have a were laid amidst idyllic
convenient view of the surroundings, completely
waterfall. It is not known shut off from the
under whose initiative distractions of the mundane
and patronage the nucleus world. This natural beauty,
of these monastic aeries coupled with a perfect
sprouted, but behind the seclusion, contributed
selection of the spot was to the serenity and calm

8
contemplation of the Above: Panoramic view of Ajanta caves
monks and was not an
inconsiderable factor in times individual stairways
promoting inspiration in linked the stream with each
the artist. cave. Most of the stairs
The caves are cut out of have disappeared with the
the amygdaloid trap rock. collapse of the front of the
Extending over 550 m they caves, only a few, as those
are aligned in a horseshoe of Caves 16 and 17, having
form. Their general partly survived.
arrangement was not The caves, including the
pre-planned, as they unfinished ones, are thirty
sprang up sporadically in number, of which five
in different periods. Their (9, 10, 19, 26 and 29) are
floor-levels are not uniform, chaitya-grihas (sanctuary)
the lowest being Cave 8 and the rest safigharamas
and the highest Cave 29. or viharas (monastery).
A terraced path of modern They resolve themselves
construction connects most into two distinct phases
of the caves, but in ancient of Buddhist rock-cut

9
AJANTA

Above: General view of Cave 26 by a vaulted ceiling,

in 1880, after H. Cousens the exterior facade being
dominated by a huge
architecture, separated from horseshoe-shaped window,
each other by an interval known as chaitya-window,
of about four centuries. The over the doorway.
earlier group, comprising Internally the chaitya-
six excavations, is an grihas are divided by colon¬
offshoot of the same nades into a central nave,
Buddhist movement, which an apse and side-aisles, the
produced caves at several latter continuing behind the
other places in the Deccan, apse and, thus, providing
like Bhaja, Kondane, for circumambulation. At
Pitalkhora, Nasik, etc. the centre of the apse
Of the six early caves stands the object of worship
at Ajanta, two, 9 and 10, in the form of a chaitya or
are chaitya-grihas and stupa, also hewn out of the
four, 8, 12, 13 and 15 A, live rock; figures of Buddha
monasteries. The chaitya- are absent, as the Buddhists
grihas are characterized were still labouring under

10
 Introduction

the convention of not the officials and feudatories

representing the Master in of the Vakatakas of
his bodily form. The most Vatsagulma (modern Basim,
striking feature about the District Akola, Maharashtra).
chaitya-grihas is the servile Thus, Varahadeva, the
imitation of wooden minister of the Vakataka
construction, including king Harishena {circa AD
the general contour and 475-500), dedicated Cave 16
essential details. to the Buddhist sangha,
The rock-cutter went while Cave 17 was the gift
to the extent of using of a prince (who subjugated
wooden beams and rafters Asmaka country), feudatory
even though they were to the same king.
non-functional. The plan of The most vigorous
the monasteries consists of period of architectural and
an astylar hall, meant for artistic activity seems to
congregation, with a range have coincided with the
of cells on three sides, second half of the fifth
serving as the dwelling- century AD and the first
apartments for monks. half of the sixth century
All these caves are AD. There was a
pre-Christian in date, considerable decline in the
the earliest to be excavated creative impulse from the
being Cave 10, dating from seventh century, though
the second century BC. Hiuen Tsang (Xuznzang),
After a quiescence of the celebrated Chinese
about four centuries pilgrim, who visited India
excavation was revived in the first half of the
on a much more ambitious seventh century AD, has
scale. The most prolific left a graphic description
phase of this movement of the flourishing Buddhist
synchronized with the establishment here.
supremacy of the Tn the east of this
Vakatakas, contemporaries country (i.e., Mo-ha-la-ch'a
of the Imperial Guptas - Maharashtra) was a
of north India, the two mountain range, ridges
families being related by one above another in
matrimony. Indeed, some of succession, tiers of peaks
the finest caves, along with and sheer summits. Here
the paintings, owe their was a monastery the base of
origin to the munificence of which was in a dark defile,
and its lofty halls and deep
1 The superimposition of the figures of
Buddha, seen on the outer sides of
chambers were quarried in
Cave 9, is a later execution. the cliff and rested on the

11
AJANTA

peak, its tiers of halls and Right: Bodhisattva AvalokitesVara,

storeyed terraces had the Cave 1

cliff on their back and faced

the ravine. This monastery Among the monasteries
had been built by the of Ajanta, Cave 16 alone
A-che-lo (Achara) of preserves two stone
West India... .Within the elephants guarding the
establishment was a large base of its stairway.
temple above 100 feet high A fragmentary Rashtrakuta
in which was a stone image record of uncertain purpose,
of the Buddha above inscribed on the right wall
seventy feet high; the image of the landing to the left of
was surmounted by a tier of the court of Cave 26, proves
seven canopies unattached the use of the caves even
and unsupported, each during the eighth-ninth
canopy separated from the centuries AD.
one above it by the space of During the second phase
three feet. The walls of this of excavation, after the
temple had depicted on initial stage of experiment
them the incidents of the in Cave 11, the general
Buddha's career as layout of the monasteries
Bodhisattva, including was standardized, though
the circumstances of his each one of them presents
attaining Bodhi and the some interesting and
omens attending his final individual features. Of
passing away, all great and the three chaitya-grihas
small were here delineated. of this period. Cave 29
Outside the gate of the is unfinished. The other
monastery, on either side two. Caves 19 and 26, are
north and south, was a designed on the plan of the
stone elephant....The P'usa earlier chaitya-grihas with
Ch'en-na or Dihnaga stayed the significant difference
much in this monastery.'^ that the interior is treated
It is interesting to note with luxuriant carvings
that an inscription in Cave and the figure of Buddha
26, assigned to a period appears on the central stupa
between AD 450 and 525 on - aniconism having by now
palaeographical grounds, given way to iconism.
refers to the building of a A profusion of the
'rocky house' (saila-griha) figures of Buddha can be
for the Teacher (Buddha) seen both on the fagade
by Sthavira Achala. and in the interior.
1 Thomas Watters, On Yuan Chwang's Travels in India, II (London, 1905),
pp. 239 and 140.

12
"''f
AJANTA

The plan of the finishing presumably

monasteries, however, went hand in hand.
shows greater innovation, After finishing the
the most important of fagade and the verandah
which is the introduction the excavator went deep
of a shrine-chamber, into the interior, attending
containing a colossal image first to the hall and next the
of Buddha in the back wall antechamber, shrine or cells
opposite the doorway - as the case might be, the
the monasteries, thus, procedure of the excavation
serving the dual purpose being the same. The entire
of monastic dwelling operation bespeaks great
and sanctuary. Sometimes delicacy, precision and
subsidiary shrines are carefulness on the part
scooped out not only on of the rock-cutter.
the back-side of the hall The caves at Ajanta offer
but also on other sides. an instructive field for the
The unfinished caves study of the evolution of
furnish a very good idea of rock-cut architecture. Their
the method of excavation. architectural qualities, like
After the outline had been their sculpture, seldom
marked, excavation started receive due attention,
from the ceiling, which was which is focussed on the
finished first. The work world-famous paintings
then continued downwards that they bear. Sculpture,
by the cutting of deep mostly dating from the fifth
alleys with sharp and heavy and sixth centuries AD,
instruments like the is remarkable for its classic
pickaxe, followed by the qualities and exhales an
breaking of the intervening aroma of graceful elegance,
ridges, leaving solid blocks, restrain and serenity.
for pillars where necessary, The spiritual luminosity
till the floor was reached of the contemporary images
which was the last to of Buddha from Sarnath
receive attention. The is, however, wanting in
preliminary work of most of the figures of
excavation was done by Buddha here.
pickaxe and the finishing The paintings fall into
and carving was entirely two distinct periods
executed by hammer and separated from each other
chisel. The work of by a fairly long interval.
quarrying, dressing and The earlier paintings.
1 From the fact that even unfinished caves bear traces of paintings it may be
presumed that the chisel-work and brush-work proceeded simultaneously.

14
 Introduction

Above: Scene from Vessantara indicating considerable

Jataka, Cave 1 7 practice behind them,
and surpass in excellence
scanty specimens of the contemporary plastic
which have survived on art. Their importance is
the walls of Caves 9 and 10, further enhanced by the
go back to the second-first fact that very little of Indian
centuries BC. painting of this type and of
The costumes of the this period has survived.
figures, specially the The second period of
head-gear and ornaments, the paintings started in
resemble those in the about the fourth-fifth
bas-reliefs at Sanchi century and continued for
and Bharhut. Even these the next two centuries. The
paintings demonstrate earlier phase of this period
an appreciable maturity. synchronized with the rule

15
 Introduction

of the Vakatakas, when palimpsests, till it became

the high watermark of the effete without any
painter's brush-work was pretension to artistic
reached. excellence as seen in the
Substantial remains of rigid, mechanical and
this phase have survived lifeless figures of Buddha
in Caves 1, 2, 16 and 17, in later paintings.
though originally all the The theme of the
finished caves, and even paintings on the walls is
most of the unfinished intensely religious in tone
ones, were painted all over. and mostly centres round
In spite of the inequality Buddha, Bodhisattvas,
in the standards of work¬ incidents from the life of
manship due to varied Buddha and the Jatakas
authorship, the paintings presenting tales of the
of this period throughout previous births of Gautama
maintain an exalted height Buddha. These topics,
and enthral the spectator specially the last two,
by their rich beauty, superb besides offering visual
expressiveness, colour- representations of didactic
scheme, balanced and themes to supplement the
effective composition, teachings of the elder
fine shading and highlight monks to their pupils, also
bringing into relief a afforded the painter an
plasticity, suppleness and unlimited scope for
sensitive modelling of the depicting the whole gamut
figures, bold but faultless of human life from birth to
outline, delicate, artistic death - men, women and
and idealized, but never children of all stations of
unnatural, bodily features life, from the king to the
and women ever beautiful slave, from the rich to the
in all conceivable poses beggar, from the saint to the
and moods. In fact, the sinner - in the crowded
paintings have stood the drama of sublimity and
test of the highest art- coarseness, love and hatred,
standard of mural joy and sorrow, triumph
paintings. and tribulation, compassion
A steady decline in the and ingratitude, pageantry
painter's art is evidenced and poverty, longing and
in later additions or death - all pervaded by an
intense religiosity.
Left: Part of the panel of The paintings are the
Bodhisattva Avalokitesvara, mirrors of contemporary
Cave 1 life in palace, court, town.

17
AJANTA

village, hamlet and palaces, pavilions, city-

hermitage. They are the gates, ramparts, huts,
illuminative documentary stupas and monasteries
on the beliefs and usages, forms a precious mine of
dress, ornaments, musical information for the student
instruments, utensils and of architecture.
weapons including modes The paintings on the
of warfare. They present ceiling, on the other hand,
before the ethnologist a are essentially decorative
vivid picture of the people in character and open up
of different nationalities a panorama of endless
and races. They are the patterns, woven with
windows through which flowers, plants, fruits,
one can have a glimpse of birds, beasts and human
the heavenly world - and semi-divine beings,
peopled by gods, and semi¬ all permeated with
divine beings like yakshas, naturalness, freshness
kinnaras (half human and and grace and bearing
half bird), gandharvas the stamp of an unerring
(divine musicians), and command over form.
apsarases (heavenly dancers) For the execution of the
- as conceived by the paintings, the ground was
people of the time. The first prepared by laying a
remarkable array of the rough layer of ferruginous
varieties of temples, earth, mixed with rock-grit
or sand, vegetable-fibres,
Below: Entrance to the monastery paddy-husk, grass and other
showing past Buddhas and fibrous material of organic
Maitreya, the future Buddha,
origin, on the surfaces of the
above and yaksha-couple,
walls and ceilings, which
below, Cave 1 7

18
 1 ntroduction

were left rough so that they Above: Painted ceiling showing

might act as 'tooth' for the elephant, Cave 1
rough plaster to set firmly
upon them. lime, kaolin, gypsum,
Next, a second coat of lamp-black and lapis lazuli.
mud and ferruginous earth, Except the last, which is
mixed with fine rock-powder still exceptionally fresh and
or sand and fine fibrous bright and which is absent
vegetable-material, was in the earlier paintings, all
applied to it. The surface the basic colours are locally
was finally finished with available.
a thin coat of limewash. The binding medium
On this surface the has generally been
outlines were first drawn identified as glue. Thus,
boldly; the spaces were in the absence of the
then filled in with requisite genuine fresco-technique
colours in different shades (fresco huono), in which
and tones to achieve the pigments are mixed with
effect of rounded and water without any binding
plastic volumes. medium and applied on a
The colour-scale is fresh wet lime-plaster,
extremely simple and it is a misnomer to call
limited, there being only red the mural paintings of
and yellow ochre, tetta verte, Ajanta 'frescoes'.

19
mSF* ^bmMI
Wl^y j^PflQ|^S|^M^Hg^Hn|H|
Wr
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Description of Caves

The caves are numbered The columns, six in

not chronologically but number, have square bases
as a matter of convenience, with figures of small
starting with the one at the dwarfs at the four corners
outermost extremity. and elaborately-decorated
bracket-capitals. The shafts,
however, vary in shape and
Cave 1 design. The two central
ones are first octagonal,
Consisting of a verandah, then sixteen-sided and next
a hall, groups of cells and fluted, with bands of fine
a sanctuary, it is one of the tracery of singular beauty.
finest monasteries at The central compartment
Ajanta, distinguished from of their capitals is adorned
the others by its decorated with a squat dwarf, and the
facade, the beauty of which, projecting ends have the
though somewhat marred figures of flying couples
by the collapse of the with garlands and flowers
small portico originally in their hands.
supported on two pillars Underlying the capital
in front, lies in its richly- is a square abacus,
carved pillars and delicately carved with
entablature. makara-motiis and
supported by dwarfs,
Left: Consort of Bodhisattva, below which is an amalaka-
Cave 1 like member between two
Below: General view of Cave 1 fillets. The next two pillars

21
AJANTA

have above the octagon

spiral flutings with belts
of tracery. Their crowning
members are similar to
those of the central pillars,
except that the central
panels contain figures
of Buddha in preaching
attitude.
The shafts of the
outermost pillars are
octagonal all through,
relieved at places by bands
of ornamental designs.
Their capitals rest on a
heavy square abacus carved
with kirti-miikha sprouting
forth pearl-strings, the ends
of which are held by two
flying figures. On the
central panel of the right
pillar is depicted the encountered in the course
Assault and Temptation of his drives through the
of Mara {see p. 26). pleasure-gardens and
Besides the pillars, the which were ultimately
verandah has two pilasters responsible for his decision
carved with a half and a of renunciation.
full lotus-medallions of The verandah has a cell
a most ornate pattern. at either end. Outside the
The lowest frieze of the verandah is a raised
architrave is decorated with pillared porch at either
varied motifs taken from extremity. The one on the
human and animal worlds, right leads to a cell, while
of which elephants and that on the left used to lead
buffalo-fights are rendered to two cells, one of which
with consummate skill. has perished. There was a
Particularly interesting is second cell adjoining the
the return of this frieze on porch on the right side.
the left side-chapel, on Very little of this cell,
which are represented three which now guards the
out of the four Ominous entrance of the visitor to
Sights, viz., a sick man, the caves, remains.
an old man and a corpse, Access to the hall is
which Gautama provided by three doors.

22
 Cave I

the central one, flanked by Above: Quadripartite deer,

a window on either side, Cave 1

being richly carved with

bands of human and floral Around the hall,
motifs. Next to the the ceiling of which is
innermost band of floral supported on twenty pillars,
patterns is a projecting arranged in a square, and
member carved with four pilasters, are hewn out
figures in compartments, fourteen cells, each with
the lowest of which a narrow door and a niche
contains a naga-hgure and on the back wall.
the others have standing The pillars of the hall
couples in different are exquisitely decorated in
attitudes, while on the lintel the style of the verandah-
are five seated pairs, some pillars, the greatest
of them playing on musical ornamentation, however,
instruments. being lavished on the two
The outermost band middle columns in the back
takes the shape of row. The central panels of
a pilaster crowned by the bracket-capitals contain
a female figure standing various motifs, including
gracefully on a makara scenes from the life of
under a tree. Buddha, worship of the

23
AJANTA

Above: Buddha, Cave I colossal image^ of Buddha

seated in the vajra-
stupa, god of wealth and paryafikasana posture in
groups of figures including preaching attitude {dharma-
animals. Of the last, those chakra-pravartana-mudrd) is
on the two central columns scooped out in alto-relievo.
of the right row are On either side is a standing
interesting: here four deer chdmara (fly-whisk)-bearer;
are provided with one the one on the right is
head, but the rendering Vajrapani, as the three¬
is so cleverly done that pronged vajra (thunderbolt)
it looks consistent and in his left hand shows.
realistic. Both the figures are
A small pillared profusely ornamented
antechamber, opposite the while their luxuriantly-
entrance-door, leads into coiled tresses fall gracefully
the sanctum, in which a on one side. At the top

1 The figure is rather heavy and lacks the attenuated and delicate modelling that
relieves the heaviness and accelerates the spiritual dignity of the contemporary
images of Buddha from Sarnath.

24
 Cave 1

corners of the halo hover it seems to be a little earlier

two flying figures holding than Cave 2, which have
garlands. The pedestal is painted inscriptions dating
relieved with a wheel in from the first half of the
profile between two deer - sixth century.
an indubitable reference to Every inch of this cave
Mrigadava (Sarnath near was originally painted, the
Varanasi), the venue of the pillars and the sculptures
First Sermon. In the figures being no exception.
of the five inbnks flanking Unfortunately, much of
the left deer can be the paintings have peeled
recognized the first five off, but from the surviving
disciples {pmcha-vargTya- patches one can easily
bhikshus). The halo and imagine its pristine
chhatra (umbrella) over the grandeur. The cave contains
head are painted. The door¬ some of the masterpieces
jambs of the shrine are of paintings in the world.
elaborately, carved with The figures of large-sized
scroll-work, floral motifs, Bodhisattvas are the
nagas, couples, female chef-d'auvre of the artists
figures standing on makaras, here. 'Of large dimensions
etc. The pillars of the they are yet weightless;
antechamber have beautiful fully bodied forth in solid
bracket-figures of nayikds rounded plasticity, they are
with attendants. yet melting in Karund, and
Though there is no seemingly in motion in the
inscription to give an midst of a radiantly moving
absolute date to the cave, it and rejoicing world, they
cannot be far removed in seem to have become stilled
date from the Ghatotkacha into silence before a great
cave at Gulwada (18 km realisation. With eyelids
west of Ajanta), which lowered they withdraw
contains an inscription of themselves into their own
Varahadeva, minister of depths.'^
Harishena {circa AD 475- The panels on the back
500), as they closely wall of the inner aisle,
resemble each other in immediately to the left and
general plan and decorative right of the antechamber,
details. On stylistic grounds are dominated by the

1 After his Enlightenment Buddha went to the Deer-Park at Rishipatana (present

Sarnath) where he preached his First Sermon to five ascetics of his previous
acquaintance. This is known as dharma-chakra-pravartana (setting the Wheel of
Law in motion), which is symbolically represented by a wheel flanked by two deer.
2 The Classical Age, edited by R.C.Majumdar and A.D.Pusalker (Bombay, 1954), p.544.

25
AJANTA

towering figures of two (hand-pose) of the right

Bodhisattvas. The one on hand of the male figure.
the left holds a lily; to his Outside, flanking the
left is probably his consort, doorway of the shrine are
also holding a lily - a dark two more Bodhisattvas, the
beauty brightened by the one on the right being
highlight on the nose and Vajrapani. Much of these
the lips. Between them is a figures is now damaged,
chamara-hediYeY wearing a but enough remains to give
blue long coat, while to the an idea of the elegance and
left of the Bodhisattva is a delicacy of feeling of the
dark mace-bearer wearing master-hand.
a white long coat. The two side-walls of
In the left corner are the antechamber depict two
divine musicians and flying important incidents from
figures, below whom is a the Master's life. The one
couple seated in a hilly on the left represents the
retreat. In the right corner Assault and Temptation
blissful joy is indicated of Mara on the eve of
by frolicking monkeys, Englightenment. When
peacocks and a happy Gautama took his seat on
couple. the vajrdsana (adamantine
On the right can be seen seat), determined not to
another Bodhisattva leaning leave it till he was perfectly
in a graceful pose against a enlightened, Mara, the Evil
personage wearing a long One, tried his best to
coat. The elaborate thwart his purpose and
ornamentation of his attacked him with a mighty
diadem is captivating. To army. But Gautama
his right is a king offering remained unmoved on his
him lilies on a tray. seat and invoked the earth
Of the two dark ladies to bear witness to his right
near the bottom, of whom to the vajrdsana. The latter's
only the busts have reply silenced Mara who
survived, one is offering fled away discomfited.
lilies to the other Gautama is seen here
(commonly labelled as Dark touching the Earth
Princess), the latter's ibhumisparsa-mudra),
features are extremely while on either side is the
delicate and refined. On the hideous retinue of Mara
top left near a gate is a threatening him in every
standing couple absorbed
in religious conversation, as Right: Bodhisattva Padmapani,
is apparent from the mudra, Cave 1

26
AJANTA

possible manner. In the two On the extreme left the

female figures by the side pigeon can be seen nestling
of Gautama as well as the in the lap of the king,
group in front can be while on the right, beyond
recognized the beautiful a pavilion, the king is
daughters of Mara who standing by a pair of scales.
attempted in vain to The identification of the
seduce him. next scene, which is much
The right wall of the damaged, is not certain.
antechamber is painted In the central panel we find
with the Miracle of a sad princess engaged in
Sravastl. In order to conversation with a
confound the six heretical maid-of-honour within
teachers, Buddha a pavilion. A female
performed a few miracles in attendant holds a toilet-tray
the presence of a group of in her hands. A servant, to
spectators headed by king judge from his demeanour,
Prasenjit of Sravastl. One of is delivering some un¬
the miracles was his pleasant message, which
multiplying himself into he had received from
innumerable Buddhas in the figure {kanchukin?),
different mudras, poised standing, with a pensive
on lotuses. and sorrowful facial
The walls of the hall expression, at the gate of
contain representations of a the women's apartments.
large number of the Jdtakas' The latter is sparsely
Starting from the front wall ornamented and wears a
to the left of the main uniform-like white long
doorway, the visitor will coat and holds a staff and
first encounter a version as such cannot be identified
of the Sibi jdtaka, where with either a bhikshu or
Bodhisattva was born as Buddha, as has been
prince Sibi and, in order proposed by some. The
to redeem a pigeon from a scene possibly represents
hawk, went to the extent of the pathetic conversion of
giving an equal weight of Nanda, the half-brother of
his own flesh to the hawk. Buddha. The story goes

1 The jatakas are stories of the previous births of Gautama Buddha, who is
believed, as Bodhisattva (a being who is in the process of obtaining Buddhahood),
to have passed innumerable existences, both human and animal, persistently
qualifying himself for Buddhahood by the greatest acquisition (paramita) of all
kinds of virtues.

2 The story as represented here follows the version of the Mahabharata and
Sutralankaro, and not the Pali Jatakas which do not mention the pigeon-episode.

28
 Cave I

that Buddha converted trying to revive and console

Nanda, who was extremely her. She reminds one of
unwilling to take to the Sundarl, who fainted on
new monastic life imposed hearing from a servant
upon him, as he was the news of her husband's
enamoured of his wife conversion. Though the
Sundarl. details of Nanda's forced
The proposed ordination, which are
identification gains strength clearly depicted in Cave 16
from the panel immediately {see p. 60) are missing here,
to the left, where a broken¬
hearted lady is lying on a Below: Scene from conversion
couch and attendants are of Nanda, Cave 1

29
 afflHl^ ^ jmsM.4

(f^M
fe'
 Cave I

it is not unlikely that they was passing that way with

existed in the lower portion five hundred wagons, took
of the panel which has pity upon the serpent and
entirely disappeared now. delivered him from
The next panel, the greater persecution by paying coins
part of which has peeled and oxen to the maltreaters.
off, seems to have formed Saihkhapala took his
part of the same theme. benefactor to his aquatic
The palace-scene of a palace and entertained him
naga king, which forms the with great pleasures for a
theme of the extreme left year, after which Alara
panel of the left wall, seems became an ascetic. On the
to be a continuation of the top left of the painting we
Samkhapala Jataka (Cowell's find the king of serpents
no. 524), which is painted listening to the sermon of
next beyond the pilaster. the ascetic, formerly a king
The story of Sarfikhapala of Magadha. Much of this
runs thus: Bodhisattva, portion has peeled off. The
born as the prince of figure of the seated lady
Magadha, desired to be listening in rapt attention
born in the naga world at with her back turned shows
the sight of the splendour a masterly drawing. To the
of the naga king right, Saihkhapala is being
Saihkhapala, who used dragged by the hunters,
to visit his ascetic father in below which is the figure
the hermitage. Born in his of Alara ready for the
next birth as the naga king ransom with his oxen.
Saihkhapala, he soon grew In the bottom left
sick of his state of glory Saihkhapala, now assuming
and, by way of atonement human form, leads his
for his former desire, lay on rescuer to the lotus-lake,
an ant-hill offering his body his abode.
to anybody who might The panels on the left
want it. One day a party of wall beyond the Samkhapala
sixteen men wounded him Jataka have not been
and dragged him along by satisfactorily identified.
means of a rope running Formerly, all of them
through his nostrils, but were taken to depict the
Saihkhapala offered no Mahajanaka Jataka (no. 539).
resistance. Alara, a kind- The story of this Jataka is as
hearted householder, who follows. The king of Mithila
was killed by his brother in
Left: Scene from Mahajanaka a battle. His queen, who
Jataka, Cave 1 was with child, fled to

31
AJANTA

.» ‘w-^ >,

Above: Scene from Mahajanaka The panel on the

Ja taka, Cave I extreme left is taken to
depict Slvalfs endeavour
Champa, where she secretly to captivate Mahajanaka
brought up her son. with worldly pleasures. In
When the boy, named the pavilion the queen is
Mahajanaka, grew up, he seated leaning against him,
sailed for Suvarnabhumi her feet being pressed by a
with his merchandise but maid. On the right, dance
was shipwrecked and accompanied by music is in
carried by a goddess to full swing. The figure of the
Mithila, where he married dancer is extremely graceful
Sivall, the daughter of the and pleasing. Below the
usurper who had recently pavilion is seen a lady
died. In the course of time, pounding ointment within
he renounced the world. a hut. From the expression
SivalT tried to dissuade him of the king it is clear that he
from his purpose but all her is not taking delight in all
efforts failed. this mirth. Next, the king

32
 Cave I

-*** runs thus. The generous

.0 prince Kalyanakarin along
with his wicked younger
^0 brother set out on a voyage
to obtain treasures. On their
return journey the ship
sank, but Kalyanakarin
succeeded in saving himself
and his brother. In order to
get possession of the jewels,
the wicked brother blinded
Kalyanakarin while he was
asleep and returned home
with his loot. In the course
of his wanderings
Kalyanakarin reached the
capital of a king. The king's
daughter chose him as her
husband. After regaining
his eyesight by means of
a satyakriya (solemn
profession of truth), the
prince returned along
with his wife to his
father's kingdom and ruled
is seen coming out of the there after the death of
city-gate on an elephant his father. A clue to the
in order to listen to the identification is provided
religious discourse of an by the figure with a
ascetic in a rocky shelter, bandage over the eyes
depicted above, where the below the shipwreck scene.
king is shown again with The upper panel on the
folded hands amidst an back wall, to the left of the
assemblage. Bodhisattva holding a lily,
The next panel and also has a lustration-scene
the voyage and shipwreck within a pavilion, with
scenes along with four supplicants standing
fragments of paintings near outside in expectation of
it have been identified by gifts. The pavilion left to
Dieter Schlingloff’ with this contains a youngish
Kalyanakarin's adventures. person donned in the robe
The story of Kalyanakarin of a monk and having a
bowl in hand, with four
1 Artibus Asiae, vol. xxxviii, 1, pp.5 ff. ladies paying homage to

33
AJANTA

him. To the left of this is of his desire Bodhisattva

a king seated on a throne. was reborn as the naga king
Below the lustration-scene Champeyya. Feeling,
is a much obliterated panel, disgusted, however, with
in which some have found his reptile existence, he
a reference to the Maha- went to the world of men
ummagga Jataka (no. 546), to observe penance and
where Amara, wife of the stationed himself on an ant¬
sagacious Mahosadha, hill. He allowed himself
outwitted four wicked men to be caught by a snake-
pretending to be wise. charmer who made him
The Champeyya Jataka dance. One day, when he
(no. 506) is delineated on was dancing in the
the back wall to the right presence of the king of
of the richly-bejewelled Varanasi, the latter set him
Bodhisattva. In fulfilment free at the request of the
nagJ Sumana, Champeyya's
BeloiP: Scene from Mahajanaka wife. Out of gratitude
Jataka, Cave 1 Champeyya conducted the

34
 Cave 1

Above: Scene from Champeyya Sumana for the release of

Jataka, Cave 1 her husband at least for the
sake of her child whom she
king to the abode of the has put forward. To the
serpents and lavishly right of the king is the
entertained him for seven figure of the snake-charmer
days; then he sent him back who is making the snake
loaded with treasures. On dance. In the bottom panel,
the top left is the dejected on the extreme left, are the
figure of Champeyya in his damaged figures of
palace, while on the right is Champeyya and the king
the court-scene of the king of Varanasi who have just
of Varanasi. The king along alighted from an elephant
with his courtiers is near a gateway, apparently
listening to the appeal of of Champeyya's palace. To

35
AJANTA

the right of this, both the main doorway has been a

kings are seen seated subject of controversy. At
surrounded by ladies and the centre is seen a royal
attendants. The hand-pose personage seated at ease on
imudra) of the serpent-king a high backed throne and
suggests that he is surrounded by his courtiers
delivering some religious and attendants. To the right
discourse to the king are several foreigners some
of Varanasi. outside the gate of the hall,
The court-scene on the some entering it and the
front wall to the right of the rest within it. They wear
peaked caps and some of
Below: A moustached celestial them have beards. The
musician (kinnara), Cave 1 three nearer the throne are
 Cave 1

respectfully approaching no record of the Persian

the king with rich presents; king having sent any
the one leading the party embassy to the court of
offers a pearl necklace, the Pulakesin, the identification
second most probably holds of the royal portrait with
a purse and the third the latter is ruled out. In
carries a tray of jewellery. view of the fact that all the
The scene has often wall-paintings of Ajanta are
been interpreted as the for the edification of the
Chalukya king Pulakesin II Buddhists, it is but natural
(AD 610-42) receiving an to seek in these paintings,
embassy from the Sassanian too, the representation of
king Khusrau II (AD 596- some subject connected
628) of Persia. As there is with Buddhism.’
As already noted, the
paintings of the ceiling are
decorative in character.
Innumerable small panels
form a rich treasure-house
of floral, vegetal and animal
motifs, relieved here and
there by comic figures and
drinking scenes. In three of
the latter scenes, where a
group of foreigners is seen
indulging in drinks, some
have again tried to find
Khusrau II of Persia and
his beautiful wife ShMn,
but Bacchanalian scenes are
not so uncommon a motif
in Indian art to require
explanation by personal
references.
The depiction of a bull¬
fight, superbly realistic, on
the central compartment
of the bracket-capital of
a pillar on the left row
displays the consummate
skill of the unknown artist.

’ The panel is faintly reminiscent of the

celebrated Buddhist emperor Asoka's
reception of foreign embassies.

37
AJANTA

Cave 2 Above: Hariti and her consort,

Cave 2

This monastery, though

smaller in dimensions, Hariti,^ as she has got
is somewhat similar to a child on her lap.
Cave 1. At either end of The pillars of the
the verandah is a small cell verandah differ from those
with a pillared porch in of Cave 1. They have
front, the architrave above moulded bases, the
the pillars being divided tapering shafts changing
into three panels. The from sixteen sides to thirty-
central compartment on the two flutes, relieved by belts
right porch is carved with a of tracery and surmounted
seated mga king and his by a capital having two
attendants, while the side- lotuses with an amalaka-
ones are relieved with pot¬ like object in between.
bellied yakshas, the right A richly-carved
one being the Buddhist doorway, flanked by a
counterpart of Kubera. The decorated window on
central figure on the facade either side, gives access
of the left porch is probably to the pillared hall.

1 HaritT was an ogress who used to devour the children of Rajagriha. Buddha,
intending to teach her a lesson, one day concealed her favourite child. The
infuriated mother attacked Buddha but was converted by him. On her request for
the subsistence of her family, Buddha is said to have assured her of food in every
monastery. The custom of the installation of an image of Haritf either in the porch
or in the dining-room of Indian monasteries was noticed by the Chinese pilgrim
l-tsing, who also recorded the relevant tradition.

38
 Cave 1

The pillars, twelve in supporting the architrave

number, are decorated in are bracket-figures of
the manner of those of the nayikas with attendants.
hall of Cave 1, the central On each side of the
pillars of the front and back antechamber is a subsidiary
rows having the minutest pillared chapel, of which
carvings to the point the right one contains
of over-ornamentation. seated figures of Hariti and
There are ten cells on two her consort. Between them
of its sides. is a woman with a bird
The back wall of the perched on her left hand
shrine is carved with the and a flower in her right
figure of Buddha in hand, and on each side is
teaching attitude flanked by a female chamara-hearer.
chamara-bearers, the left one In the two scenes at the top
being Padmapani. The door corners can be recognized
of the shrine and the pillars Haritl's attack upon
and pilasters of the Buddha and her ultimate
antechamber are profusely conversion. On the pedestal
ornamented. Projecting is an interesting group:
from the base of the capitals
of the central pillars of the Below: Painting on the ceiling of
antechamber and the antechamber, Cave 2

39
AJANTA

Above: Buddha in two different these chapels is relieved

postures, Cave 2 with groups of figures in
compartments.
starting from the right we The cave contains a
find three attentive boys number of painted records,
engaged in writing before a though fragmentary. On
teacher admonishing them paleographical basis they
with a cudgel; next, two have been assigned to
boys are boxing; and lastly, the first half of the sixth
a group of five boys is century AD. The majority of
goading two rams to fight - them is found on the walls
a realistic representation of of the porch to the left of
the ubiquitous back¬ the verandah and quotes
benchers and truants. verses from the Kshanti
The left chapel has two Jataka, found in the Jataka-
corpulent yakshas attended mala. Apparently, the
by chamara-bearers. panel, which has now
Specially interesting is the almost entirely perished,
luxuriant crop of their curly was painted with the story
tresses falling on one side, a of Bodhisattva, who did not
type of coiffure very
common in the sculptures ’ The Jataka-mala by Aryasura, edited
of Ajanta. The fac^ade of by H. Kern (Boston, 1891), pp. 181 ff.

40
 Cave 2

others; their subject is also

different. Here we find
painted bands of concentric
circles with spandrels filled
in with different motifs, of
which the flying figures are
exquisitely rendered. The
painting on the ceiling of
the shrine is one of the best
specimens of the painter's
art at Ajanta. No one can
but be struck by the keen
observation and masterly
execution shown by the
painter in the delineation
of a procession of twenty-
three geese in various
attitudes, which forms a
band of the ceiling-painting
of the chapel to the left of
the antechamber.
give up his patience and The side-walls of the
preaching of forbearance in shrine, walls of the ante¬
spite of the persecutions of chamber, part of the left
the king of Varanasi. wall of the hall and left half
The cave is remarkable of the back wall, all painted
for the survival of most of with countless Buddhas in
the ceiling-paintings of the various attitudes, remind
hall, antechamber, shrine, one of the 'Cave of the
chapels and verandah with Thousand Buddhas' at
side-porches. Like Cave 1, Tun Huang (Dunhuang)
the painting on the ceiling in Central Asia. As a matter
takes the form of com¬ of fact a painted record on
partments filled in with the back wall of the ante¬
a variety of designs, chamber to the right of the
including floral patterns, shrine-door relates the
birds, fruits, flying figures, donation of 'thousand
fantastic and comic figures painted Buddhas'.
and geometric and Also painted here
ornamental motifs. The are three large-sized
colour-schemes, however, Bodhisattvas, one on the
are different. The central back wall of the hall and
panels are square and are two on the front wall of the
much larger than the shrine. Of the latter, the one

41
AJANTA

to the left of the doorway who declared that the

does not represent queen had conceived a son
Maitreya, but is actually destined to become either
Avalokitesvara in the role a universal monarch
of the saviour of mankind (chakravartin) or a Buddha.
threatened with the Eight Next, we find a beautiful
Great Perils of lion, princess, apparently Maya
elephant, fire, snake, robber, (who was believed to have
water, fetters and demon. been protected during
Of the scenes from the gestation from all harms
life of Buddha, the nativity by celestials), standing in a
is painted on the left wall of pensive mood between two
the hall between the front pillars. Below is shown the
pilaster and the third cell- birth of Buddha: Sakra
door. The bottom left panel, holds the new-born babe
though much damaged, in his arms, while Maya
depicts the bedchamber of stands holding the branch
Maya, who dreamt of a of a tree. The seven steps,
white elephant entering her which Gautama took
body. The elephant, the immediately afterwards are
form in which Bodhisattva painted to the right of this.
alighted from the Tushita The lowest part of the panel
heaven, is not very clear in has the appearance of
the panel, as the portion having been left unfinished.
has suffered much. Above The following Jatakas
the panel is a royal couple - are identified. On the
apparently Maya relating extreme left wall of the hall
her dream to her husband is depicted the Hamsa Jataka
Suddhodana. (no. 502). Queen Khema
The next top panel having seen in her dream a
above the cell-door has golden goose discoursing
been interpreted as the the law to her, the king of
Tushita heaven, the abode Varanasi made a decoy-
of Bodhisattva before his lake, and his fowler
descent. The princely succeeded in capturing
figure, with an aureole the golden goose-king
around his head and seated (Bodhisattva) and his
in the teaching attitude, is faithful captain, Sumukha.
Bodhisattva. The panel to Both of them were brought
its right relates to the to the presence of the royal
interpretation of Maya's couple who were satisfied
dream. When Maya related with the discourse and set
her dream to the king, he them free. In the lower
sent for the Brahmanas, panel to the left of the cell-

42
 Cave 2

door, the fowler along with Above: Tw^o comical figures on

an official is seen the ceiling, Cave 2

approaching the geese in a

lotus-lake. A little above, Irandati, Punnaka, the
the fowler is going out of Yaksha general, won
the lake after catching hold Vidhurapandita
of the geese. In the top (Bodhisattva), the wise
panel the golden goose, minister of the king of
seated on a throne, is Indraprastha, after
delivering the sermon to defeating the latter in a
the royal couple. The next game of dice and, brought
scene above the cell is laid him to the ndga queen
in the king's court where Vimala, the mother of
Bodhisattva (goose-king in Irandati, who was pining
his human form ?) is seen for the discourse of
preaching to an assembly. Vidhurapandita. On the
Lower below, to the right of right half of the
the door, is a lake full of composition can be seen
lotuses and lilies in all Irandati on a swing,
possible stages of bloom, Punnaka meeting Irandati
among which is seen the and the ndga king
golden goose. consulting his kinsmen over
The Vidhurapandita Punnaka's proposal of
Jdtaka (no. 545) occupies a marrying his daughter,
large portion of the right while in the left half are
wall of the hall. In order to depicted the audience-
gain in marriage the hand chamber of the king of
of the ndga princess Indraprastha, the game of

43
AJANTA

Above: Painted ceiling, Cave 2 this is the sandal-wood

monastery built by Purna
dice, Vidhurapandita's and said to have been
journey with Punnaka, the visited by Buddha.
former's discourse in the To the left of the
mga king's palace and the Vidhurapandita Jdtaka,
happy union. Delineated between the cell-door and
below the Vidhurapandita the pilaster, is painted the
Jdtaka, where Irandatl is Ruru Jdtaka (no. 482). Here
on a swing, is the Purna Bodhisattva, born as a
Avaddna.^ In the bottom left golden deer, having rescued
we find Purna in front of a drowning man, was
Buddha signifying his betrayed by the latter to the
conversion. To the right is a king of Varanasi, who had
boat in danger, and its declared a rich reward to
owner, apparently Bhavila, the finder of such a deer,
the brother of Purna, as his queen had taken into
praying for succour, in her head to listen to the
response to which an angel, sermon of a golden deer
followed by a monk, seen in her dreams.
apparently Purna, as Bodhisattva forgave his
narrated in the Avaddna, betrayer and converted the
comes to his rescue. Above royal couple. Most of this
panel has perished. In the
1 The Divyavadana, edited by E.B.
Cowell and R.A.Neil (Cambridge, bottom the spotted deer is
1886), pp.24 ff. seen carrying a person on

44
 Cave 2-4

his back. The deer is next Cave 3

shown as standing. Much
of the top portion is A modern flight of steps
destroyed, but traces of a brings the visitor to this
female and a male figure incomplete monastery, of
are discernible. which only the preliminary
The theme of the excavation of the pillared
painting on the right wall verandah was carried out.
of the front aisle above the The work stopped after the
cell-door cannot be made scooping out of a rough
out, as it has suffered great entrance of the hall.
damages. The kneeling
figure of the lady
beseeching for mercy, an Cave 4
angry king who is brandi¬
shing his sword, is a This is the largest
masterpiece of Indian monastery at Ajanta,
painting. planned on an ambitious
The paintings on the scale, but never finished.
walls of the chapels are The verandah, supported
remarkably well-preserved. by eight octagonal pillars
Although the subject-matter with bracket-capitals, has a
in both the chapels is cell at either end.
almost the same, viz., lady The hall has one main
votaries bringing offerings, entrance and two side-
their treatment, colour- doors with wide windows
scheme and background are in between. The decoration
entirely different from each of the main door, executed
other. The compositions on in the style of that of Cave 1
the walls of the Hariti but bolder, is one of the
chapel are laid amidst a most elaborate to be found
rocky landscape. They have at Ajanta. The outermost
elicited great admiration compartment of the jamb is
from art-critics, who sculptured with a female
designate them as figure with an attendant at
Botticellesque murals. the bottom, boldly-carved
The paintings on the standing couples, flying
walls of the verandah of the pairs and sala-hhafijikas. The
cave have almost perished, lintel is decorated with
and only small patches, seated figures of Buddha
showing portions of
1 An inscription on the pedestal of a
gracefully modelled figures,
Buddha image in the sanctum of Cave 4
can be seen here and there. states that it was a gift of a person
named Mathura, son of Abhayanandin.

45
AJ ANTA

and gams, while the row, are similar to those

topmost band has five in the verandah. On the
chaitya-window motifs, three sides of the hall are
three of them containing hewn a number of cells,
figures of Buddha. At the many of which can be
upper corners of the door¬ seen at different stages
frame are the bracket- of excavation.
figures of sMulas with The shrine, relieved with
riders. To the right of the the figures of Buddha at
door is a rectangular panel places, has also a colossal
carved with a standing image of Buddha in
figure of Avalokitesvara teaching attitude flanked by
at the centre, with Vajrapani and Padmapani
worshippers praying the latter with an ajina. In
to him for deliverance front of the seat is a
from the Eight Great Perils congregation of devotees,
{see p.42). The Bodhisattva including monks. The door¬
holds in his jata-mukuta a jambs and lintel are
Dhyani-Buddha in the decorated with figures of
dharma-chakra-pravartana- Buddha. The walls of the
mudrd (teaching pose) antechamber are carved
and not in the appropriate with six gigantic standing
dhydna (meditation) figures of Buddhas, two of
attitude. It is clear, therefore, them unfinished, with the
that iconographical canons right hands in the abhaya-
had not yet crystallized into mudrd and the left holding
rigid forms. In the two top the hem of the garment.
corners of the panel are two These figures of Buddha
seated figures of Buddha, along with those in the
with a third one above shrine originally bore
within a c/ifl/fya-window. paintings, traces of which
To the other side of the still linger in patches.
door can be seen another The verandah was also
panel carved with the once painted.
figure of Buddha in the The cave is ascribable
teaching attitude. The to the first half of the sixth
jambs and the lintel of the century AD on the basis
windows are also delicately of the palaeography of
carved. the dedicatory inscription
The hall has twenty- on the pedestal of the
eight pillars, arranged in Buddha-image.
a square, which with the
exception of a few richly- 1 Epigraphia Indica,
carved columns on the back XXXIII (1960), p.259

46
 Cave 4-6

Cave 5 imitation-beams. The front

and back aisles of the hall
Hewn at a lower level, this are larger than the rest. In
monastery was also left this cave there are sixteen
unfinished. Its richly- cells in all.
carved doorway, with Over the door of the
female figures standing on sanctuary is an ornamental
makaras projecting beyond arch springing from the
the general alignment, mouths of makaras resting
deserves notice. on two carved pilasters
supported by yakshas.
The arch is filled in with
Cave 6 a naga having a pot in hand
and garland-bearing flying
This is a double-storeyed figures. The spandrels are
monastery. The verandah also carved with flying
of the lower storey has figures.
entirely disappeared. The figure of Buddha
A cistern can be seen at in teaching attitude is
the right end. Much of the detached from the back
decoration of the doorway wall; the latter has a recess
has crumbled; below at its upper part. The shrine
the recesses at the top was originally painted with
extremities, which apparently many figures of Buddha,
contained some sculptures, of which hardly anything
is a pilaster with a pot-and- can now be made out.
foliage capital and a pot- On the left wall of the ante¬
base, the pedestal being chamber is painted the
supported by a yaksha Miracle of SravastT {see p. 28)
and an elephant. and on the right wall the
The hall was lighted Assault and Temptation
by four broad windows, of Mara {see p. 26). Much
of which two have now of these paintings has
been blocked. The pillars peeled off.
of the hall, instead of being A flight of steps to the
arranged round the sides of right of the hall-door lands
a square, are placed in four the visitor on the upper
parallel rows of four each. storey. The lower steps of
They are without any base this stairway are of modern
and are octagonal up to construction. Out of the
about three-fourths of their four pillars of the verandah
height, then sixteen-sided only the lower half of one
and ultimately moulded has survived. The extant
at the top supporting pilaster is relieved with

47
AJANTA

a medallion having the cells have pillared porches

makara-motii at the centre, in front; the one on the left
the projecting end of its end of the front aisle has
bracket-capital having its fac^ade sculptured with
the animated trotting figure a frieze of elephants of
of an elephant with two masterly workmanship.
riders. At either end of the The cave has a profusion
verandah is a cell with a of carved figures of Buddha
pillared porch, the faqade in different attitudes
of which is carved with on the walls of the hall,
figures of Buddha within antechamber and shrine.
arched niches. One small standing figure
Outside the verandah on the left wall of the
at either extremity is a antechamber is so finely
chapel containing an image covered with a lime-coat
of Buddha. To the left of that it gives the appearance
the door of the left chapel of marble. On the same
is a standing figure, much wall near the feet of a relief
damaged, which originally of Buddha is the masterly
held an umbrella or drawing of a remarkable
standard. kneeling figure holding
The pillars of the hall, three lotus-buds and a
twelve in number, are handled cylindrical object
arranged around a square. with a lid. The upper
They have square bases, storey was left somewhat
octagonal shafts and unfinished.
bracket-capitals. This cave has only one
At the back of the painted record on the left
shrine is carved an image wall of the upper hall.
of Buddha in preaching It records the gift by a
attitude. The deer on the monk whose name has
pedestal are very doubtfully been read as
realistically executed. Tarana-kirttana.
The walls of the shrine are
carved with a number of
standing figures of Buddha. Cave 7
Besides the main shrine,
there are two more chapels The plan of this monastery
containing images of differs from that of the
Buddha; the one on the other monasteries in its
right end of the front aisle not having a hall but two
has its door-jamb painted small porticos, each
with beautiful figures of supported in front by two
fine execution. Four of the heavy octagonal pillars.

48
 Cave 6-7

the capitals of which have octagonal shafts and

somewhat resemble those bracket capitals. At each
of the verandah pillars end of the verandah, at a
of Cave 2. The facade is higher level, is a pillared
relieved with chaitya- porch, which opens into
windows filled in with three cells. Outside the
a half-lotus or an animal- verandah is also a cell at
head. The verandah-pillars each extremity. The shrine
has a seated image of
Below: Miracle of SravastI, Cave 7 Buddha with an elliptical

49
AJANTA

halo carved on the back

wall. There are also six
standing figures of Buddha
in the vara-mudra, carved on
the walls of the shrine.
Below them there are seated
figures of Buddha. The
door-jambs and lintel are
similarly decorated with
figures of Buddha, the top
corners only having female
figures on makaras; the
modelling and pose of the
female figures, particularly
the left one, are captivating.
Both the left and right walls
of the antechamber are
carved with the Miracle of
Sravasti. The back walls of
the antechamber also have
a number of figures of
Buddha; the topmost one
on the right side, seated on
the coil of a seven-hooded
mga, most probably Cave 9
represents the incidents of
the mga king Muchilinda's Oblong on plan, this small
providing a shed over chaitya-griha, with its well-
Buddha by his hood. The balanced facade, is divided
cave was once painted all into a nave, an apse and
over, but nothing aisles by a colonnade of
substantial has survived. twenty-three pillars. At the
Some of the cells and the centre of the apse stands a
left porch are left globular stuya on a high
unfinished. cylindrical base. The
crowning members consist
of a railing and a harmikd,
Cave 8 the latter expanded above
into the shape of an
As already noted {see p. 9), inverted stepped pyramid.
this monastery is excavated Over the harmikd were
at the lowest level. Its major wooden umbrellas, as
part has been swept away attested by the existence,
by a heavy landslide. on the top, of two sockets

50
 Cave 7-9

meant for receiving the Above: C/iaitya-arches on the

shafts. Except the two facade of Cave 9

pillars near the entrance,

the columns are plain The ceiling of the aisles,
slightly-tapering octagons lighted by two small
without any base or capital; windows, is flat. The
they support a triforium, vaulted ceiling of the nave
from the top of which and apse was originally
springs the vaulted ceiling. braced with superfluous
In the two central wooden beams and rafters;
columns and the six the holes meant for their
pilasters of the door and insertions can be seen on
windows can be seen the top of the triforium.
an effective device of The fagade is dominated by
finishing off the arris a ribbed chaitya-window,
at the point of transition originally ornamented with
between the square and wooden lattice-works, a
octagon - a characteristic rough idea of which can
feature of the second and be gathered from the five
first centuries BC. chaitya-window motifs

51
AJANTA

above the cornice over the which is much damaged,

doorway and window. centres round a king,
The chaitya-griha has who seems to be listening
been assigned to the first to the petitions of a group
century BC. The figures of of five persons seated near
Buddha on the facade and his throne. A couple is
side-walls facing the court standing to the left of the
were, however, added at a seated figures, while a
much later date. flying figure can be seen
Within the cave there are above hovering towards
at places two layers of the assembly. The coiffures,
paintings, the earlier going ornaments and costumes
back to the period of the of these figures are similar
excavation. It was a to contemporary reliefs
common practice amongst at Sanchi.
ancient artists to paint over Again, in the extreme
an existing painting left panel on the left wall ■
without completely rubbing we come across a later
it off. An idea of the painting, the persons of six
superimposition of the later Buddhas, beyond which
painting on the earlier one we find an earlier painting
can be had on the inner side consisting of a procession
of the front wall above the of devotees towards a stupa
left window and the door enclosed by walls, the right
and the left wall. At the one pierced by a torana
extreme left of the former closely resembling the
we find the heads of two gateways of Sanchi. Beyond
bhikshus with a painted the gateway is a structure,
record of about the fifth probably intended for a
century AD. It is only a part monastery. Next we find a
of the later painting group of standing persons,
covering an older painting, beyond which are some
now exposed after the secular structures occupied
removal of the former. In by ladies. The colour-
the older painting can be scheme presents a dire
made out two groups of contrast to that of the later
figures separated from each painting, not to speak of the
other by rocks. The left style and workmanship.
group presents only two The remnant of another
nagas seated under a tree old painting partly survives
in the rocky shelter; the one on the frieze above the left
having multiple cobra- colonnade of the nave,
hoods is most probably the where the movement of
naga king. The right group. animals hotly chased by

52
 Cave 9-10

herdsmen is very wooden prototypes.

realistically and forcefully The apse has the usual
portrayed. votive stfipia, the drum of
The favourite motifs which rises in two storeys.
of the later painters are But for the missing front
the figures of Buddha in face which was possibly of
various attitudes. The timber, it would have been
ceiling of the aisles is an impressive chaitya-griha.
decorated with lotuses in Fortunately there is an
panels. Twelve painted inscription, recording the
records have been noticed gift of the fagade by one
here. Vasithiputa Katahadi, on
Beyond this cave, at a the front to the right of the
slightly higher level to the great chaitya-window. The
right of the modern stairs palaeography indicates
are two recesses with their the beginning of the second
walls relieved with the century BC as the date
figures of Buddha. of the cave.
Two more donative
records, one painted and
Cave 10 the other engraved, of the
same period, exist inside
This is the earliest chaitya- the cave.
griha and most probably the This cave, like the
earliest excavation at preceding one, contains
Ajanta. Apsidal on plan, it both the earlier and later
is divided into the usual groups of paintings. That
nave, apse and aisles by the hall was painted shortly
thirty-nine octagonal pillars in the wake of its
supporting the entablature excavation is proved by
from which the vault of the a painted record on the
nave rises. It is much larger paintings itself on the
than Cave 9. Its floor is left wall opposite the
approached by a flight of third pillar.
steps. Like Cave 9, its On palaeographic
ceiling was originally grounds it has been
covered with a network assigned to the middle
of curvilinear wooden of the second century BC,
beams and rafters. The which is, thus, the date
ceiling of its aisles, of the painting as well.
however, differs from that The subject-matter of the
cave in its being a half-arch painting, though greatly
and having rock-cut beams obliterated by modern
and rafters in imitation of scribblings can be made

53
AJANTA

out as the visit and worship incidents of the story can be

of the Bodhi tree and the followed in the painting.
stupa by a royal personage Commencing on the left,
accompanied by his a king, surrounded by
retinue - soldiers, dancers, his retinue, can be seen
musicians and ladies. shooting an arrow towards
Like the older paintings Sama, who holds a pitcher
in Cave 9, the events are on his left shoulder.
composed horizontally in a Immediately to the right is
continuous frieze-like band, the figure of the penitent
a characteristic of the early king. The third scene is in
paintings at Ajanta. the hermitage, with the
Substantial fragments sorrowful figures of Sama's
of the older paintings, parents, feeling the
superimposed at places by wounded body of their son.
later ones, can also be seen Immediately to the right,
on the right wall. Here two Sama, restored to life, is
Jdtakas have been addressing the king.
identified. On the left, Further right, one
behind pillars 11 to 15 is encounters again the king
depicted the Sdma Jdtaka and Sama, the latter seated
(no. 540). Bodhisattva was under a tree with a pair of
born in that life as Sama, deer gazing at him. Next is
the sole support of his blind depicted the leaf-cottage
hermit-parents. One day, {parna-sdld) of the hermits.
while he was filling his To the right of the Smna
pitcher in a river, he was Jdtaka is painted the
shot accidentally by a Chhaddanta Jdtaka (no. 514)
poisoned arrow of the king in a long horizontal frieze
of Varanasi who had been occupying the rest of the
out hunting. Having heard wall behind pillars 2 to 12.
about the helplessness The story runs thus:
of Sama's parents, the Bodhisattva was born as
repentant king offered his Chhaddanta, a six-tusked
services to them. The royal elephant, and lived
parents' grief, however, near a lake in the
moved a goddess whose Himalayas in the company
solemn asseveration of his two wives,
brought Sama back to life Mahasubhadda and
and restored the eyesight of Chullasubhadda. Thinking
the parents. The main that her co-wife was her
husband's favourite,
1 Both of them are found represented Chullasubhadda conceived
in later paintings as well in Cave 1 7 a relentless grudge against

54
 Cave 10-11

her husband and pined easily be followed. The

herself to death praying, to painting ends with a scene
be born in her next life as in which a royal couple,
the queen of Varanasi so followed by maids, is
that she could retaliate on approaching a chaitya-griha.
him. In fulfillment of her Like Cave 9, the theme
prayer she was born to of the later paintings is
become the favourite queen mostly figures of Buddha.
of the king of Varanasi. On The cave contains the
the pretext of a feigned largest number of painted
illness she induced the king records.
to commission the hunter Slightly higher up, to
Sonuttara for bringing the the right of the modern
tusks of Chhaddanta. The flight leading from Cave 10
latter, though wounded by to Cave 11, is a recess, its
the arrow of the hunter, back wall relieved with an
helped him in sawing off image of Buddha in the
his own tusks. The queen, bhadrasana pose. On the
however, died out of right wall is depicted
remorse at the sight of the Avalokitesvara approached
tusks. This painting has by devotees in Eight Great
suffered much from Perils {see p. 42) while on
vandalism. The story is not the left wall are several
depicted in a strict figures of Buddha and one
chronological order; but the of a female divinity, the
main incidents of the story latter standing in the sdma-
- Chhaddanta's life in the pdda pose with the stalk
Himalayas, his favourite of a damaged lotus in
resort under the banyan her left hand.
tree, the lotus-lake, his
presentation of a lotus to
Mahasubhadda which Cave 1 1
enraged Chullasubhadda,
Subhadda (queen of The clumsiness of the
Varanasi) feigning illness pillars and the irregularity
and directing Sonuttara of the cells stamp the
about the whereabouts of monastery as the initial
Chhaddanta, Sonuttara product of the structural
spying the elephant from revival, dating from the
the rocks, his sawing off the beginning of the fifth
tusks and bringing them to century AD or even earlier.
the presence of Subhadda Approach to the verandah,
and the latter's swoon at the high plinth and parapet
the sight of the tusks - can of which are decorated

55
AJANTA

with a railing-pattern, projection is covered with

is provided by a flight of painted motifs including
steps. The pillars of the varied flora, birds, beasts
verandah have square and geometric designs.
bases of unequal heights, A painted version of the
octagonal shafts and quadripartite deer of Cave
bracket-capitals. At each 1 {see p. 24) is noteworthy.
end there are two cells, The back walls of the
entered by steps, the outer verandah immediately
cells having collapsed. to the left and right of the
The right wall of the door are painted with large
verandah is carved with sized Bodhisattvas with
figures of Buddha in three attendants, large portions
panels. The windows are of the paintings being
each partitioned by two damaged. The walls of the
pillars. The door is plainly hall are painted mostly
moulded with a lion-head with figures of Buddha.
at each end of the threshold. Two painted records have
The ceiling of the hall is been noticed so far.
supported on four pillars
having moulded bases,
tapering octagonal shafts Cave 12
and pot-with-lotus-petal
capitals. The back and the This monastery is one
left walls have three cells of the earliest, if not the
each, and a bench runs earliest, at Ajanta.
throughout the entire Its front wall has entirely
length of the right wall. The disappeared. The astylar
cave has no antechamber, hall, nearly 11 m square
and the shrine, with an and with a flat ceiling,
image of Buddha in opens into twelve cells
teaching attitude carved ranged on three sides.
against an unfinished stupa, The walls of the hall above
is also somewhat the cell-doors are
unfinished. The plinth, on ornamented with chaitya-
which rests the simhasana window motifs connected
of Buddha, contains the at places by a railing-motif,
kneeling figure of a the right wall being further
devotee. Higher up, in decorated with stepped
the left wall is hewn out a merlons of Assyrian
secret chamber, probably pattern. Each cell has two
for keeping valuables. beds. The holes in the sills
The ceiling of the and lintels for pivot-hinges
verandah along with its prove that they were

56
 Cave 11-15

originally provided with decoration of the pillars of

single-leafed wooden the verandah differs from
doors. On the back wall, to that of any other pillars at
the left of the right corner Ajanta. The top corner of
cell, is a BrahmT inscription the central doorway leading
recording the gift of the to the unfinished hall is
merchant Ghanamadada, adorned with beautifully-
and belonging to a date modelled figures of sala-
slightly later than that of bhanjikas with attendants.
the record of Vasithiputa
Katahadi in Cave 10.
The monastery once bore Cave 1 5
paintings, of which hardly
anything now exists. The pillars of the verandah
of this monastery have
fallen leaving only the
Cave 1 3 moulded plinth. The lintel
of the doorway is carved in
As already noted, this the form of two tiers of a
small monastery belongs sikhara. At the centre of the
to the earlier complex. lower tier is a stupa under
Its front has perished. the canopy of serpent-hoods,
The astylar hall has seven while the upper tier has at
cells on three sides, each its centre a chattya-window
provided with two stone motif flanked by a pair
beds; one cell has raised of pigeons carved in
stone pillows as well. The a most realistic manner.
«s

cells, like those of Cave 12, The astylar hall has on

are so narrow that it is quite two of its sides eight cells.
likely that they only served The back wall to the left
as dormitories. There is no of the antechamber bears
trace of the cave having figures of Buddha in two
ever been painted. panels. The pillars of the
antechamber have moulded
plinths and shafts, first,
Cave 14 square, then octagonal,
next sixteen-sided and
This monastery was finally returning to square
excavated over Cave 13 at through octagon without
a higher level. It is reached any capital. The back wall
through an incomplete cave of the shrine is carved with
by an ancient staircase. an image of Buddha seated
Planned on a large scale, on a sirhhasana. That the
it was left unfinished. The cave was originally painted

57
AJANTA

can easily be guessed from Cave 1 6

the patches of plaster
sticking to the ceiling of the Beyond Cave 15 A is a door
hall and traces of painting flanked by an elephant in
on the ceiling of the relief {see p. 12) on either
antechamber and shrine. side and facing the
sculpture of a mga king
Cave 1 5A seated on his coils. A
stairway to the left leads
Descending by the flight of
steps between Caves 14 and Below: Flying couple, front
15 to the lower terrace, one corridor of main-hall, Cave 1 6

finds to the right a small

monastery consisting of a
central astylar hall flanked
by a cell on each of its three
sides. The damaged front
wall, originally decorated
with the railing-design, is
pierced with a single door
and has on its right an
inscription in shell-
characters as on one of the
pillars of Cave 9. The walls
of the hall above the cell-
doors are relieved with
motifs like chaitya-windows
rising from railings, above
which is a running
moulding relieved with a
row of stepped pyramids.
The narrow cells, each with
a door, have on their three-
sides platforms to serve as
beds. The left cell has an
oblong recess cut into one
of the platforms.
The front door was
found deliberately bricked
up. Above the railing on the
facade are the reliefs of
chaitya-window motifs, the
central one being above the
entrance-door of the cave.

58
 Cave 1 5-1 6

to the front court of the magnificent dwelling

Cave 16, one of the most {vesma), excavated in the
beautiful monasteries at hill, for the use of the best
Ajanta, combining elegance of ascetics by Varahadeva,
and architectural vigour. the minister of the
Its importance is further Vakataka king Harishena
increased by an inscription {circa AD 475-500). We are
incised on the left side-wall further told that the
outside the verandah, dwelling was adorned with
furnishing the history of its windows, doors, beautiful
excavation. The inscription picture-galleries {vTthi),
records the dedication of statues of celestial nymphs.
AJANTA

ornamental pillars and pillars and pilasters - again

stairs and had a shrine a novel feature. The side-
{chaitya-mandira) and a aisles are lighted by a door
mandapa. It was also and a window above it
provided with a large from the back side of the
reservoir and a dwelling of hall. The front pillars of the
the lord of the ndgas. The shrine, with fluted
cave bears out all the rectangular shafts, are
details given in the richly carved.
inscription. The gigantic image of
The hall has twenty Buddha in teaching
pillars. Except the middle attitude, seated in the
pair in the front and back pralamba-pdda, posture, is
rows, which have square carved in high relief and
bases and shafts first has a circumambulatory
octagonal, next sixteen¬ passage round it. The back-
sided and then square, they slab is carved with the
are plain slightly-tapering upper parts of attending
octagons without any base. chdmara-bedirers, makaras
The pillars of the front and and gaja-vydla motifs.
back rows have bracket- To the left of this
capitals. The front aisle is monastary at a higher level,
longer than the others, and approached by a flight of
its ceiling is carved in steps, is a large cistern with
imitation of wooden rafters a narrow mouth.
and beams, their ends again Unfortunately most
supported by the bracket- of the paintings have
figures of dwarfs (gams), disappeared now. Of the
musicians and flying few surviving compositions,
couples. These figures are the piece immediately after
shown in varied moods, a the front pilaster of the left
few groaning under weight, wall of the hall is noted for
some serious, others taking the masterly depiction of
it lightly and still others the pathos and sentiments
enjoying it. Specially in the fainting of a beautiful
interesting are the two princess at the sight of a
flying couples, noted for crown held by a servant.
their graceful poise and She is identified with
features. On three sides of Sundari, the wife of Nanda,
the hall are fourteen the latter's conversion
recessed cells. forming the subject of this
There is no antechamber panel. On his first visit to
leading to the shrine, which Kapilavastu Buddha went
has two side-aisles with for alms to the house of his

60
 Cave 16

half-brother Nanda, who Buddha is notable for her

was at that time busy in movement and modelling.
helping his wife in her toilet. In the damaged painting
When Nanda came out to on the back wall to the left
meet Buddha, the latter of the shrine, between the
gave him his begging-bowl cell-door and the door
and took him to the monas¬ of the left aisle, can be
tery, where, much against recognized the Miracle of
his will, he was ordained. Sravasti {see p. 28). Next is
In order to cure Nanda painted an elephant-
of his lovesickness Buddha procession, signifying some
took him to heaven and royal visit, of which hardly
showed him beautiful anything substantial
nymphs, promising them remains. On the back wall
to him if he practised his to the right of the shrine,
religious exercises. On return above the door of the right
Nanda applied himself aisle and the cell-door, is
rigorously to self-control and depicted Buddha preaching
practice of religious life with to the congregation.
the sole object of attaining The right wall is
the nymphs. devoted to the illustration
The ridicule of other of incidents from the life
monks, however, brought of Buddha. Though the
him to his senses and painting is much darkened
ultimately he became an and effaced, some of the
arhat. Though the panel is incidents can be easily
much damaged, Nanda's made out, e.g., Sujata's
tonsure, his sorrow at his offering of payasa, the
forcible ordination and his offering of Trapusha and
journey through the air in Bhallika, Buddha with his
the company of Buddha are begging-bowl on the street
easy of identification. of a town (Rajagriha?),
After the scene of a royal (Bimbisara's?) visit,
Nanda's conversion Gautama's first meditation
abruptly comes a panel during the ploughing
containing seated figures of festival, the prediction
Buddha in two rows. This of Asita, Gautama at school
painting was done at a later and his practice of archery.
date. Beyond this is a panel To the extreme right of the
representing Buddha seated panel can be seen the
in teaching attitude on a sleeping figure of Maya,
simhasana decorated with to the left of which in a
lion-heads. The flying circular pavilion, is a royal
female above the head of couple, apparently

61
AJANTA

Suddhodana and Maya, desisted from her effort, and

conversing over the this enabled Mahosadha to
prospect of the dream find out the real mother. A
which the latter had. The popular version of this story,
three-dimensional effect of in which the judge ordered
the pavilion is noteworthy. the boy to be cut into two,
Of the Jatakas, two can so that the disputants could
be recognized on the front have equal parts, is depicted
wall of the hall near the left here. Lower down, to the
corner and the left wall of right, is the 'riddle of the
the front aisle. The first chariot', where two persons
depicts the Hasti Jataka, claimed a chariot, and
where Bodhisattva, born as Mahosadha declared the
a benevolent elephant, rightful owner by a simple
flung himself down to test. The adjoining pilaster
death from the top of a delineates the 'riddle of the
precipice to serve as food cotton-thread', where a
to hungry travellers, who woman stole a ball of thread
are seen in the left panel belonging to another when
making a feast on the the latter was bathing in the
elephant's carcass. The tank of Mahosadha.
second shows certain Mahosadha asked what
episodes from the Maha- object had been put inside
ummagga Jataka (no. 546), the ball, and thus the
where the supernatural rightful owner was
child Mahosadha identified.
adjudicated disputes. Fragments of the Maha-
On the top is the tank of Sutasoma Jataka, also
Mahosadha, who is talking represented in Cave 17
to a group of four persons. (see p. 71) can be seen on
Below this, a little to the left, the architrave above the
is the representation front pillars of the verandah.
of the 'riddle of the son', A lion is seen licking the
where Mahosadha was feet of a sleeping person.
called upon to settle the From the traces of the
dispute between a woman painting on the ceiling of
and a goblin over the the central nave it is clear
motherhood of a child. that the design differed
Mahosadha asked both from others in its having
of them to drag the child bigger panels filled in with
towards herself; the mother concentric decorative bands.
seeing the child in pain.

1 The Jataka-mala, pp. 207 ff;

1 The jataka-mala, pp. 200 ff. also jataka no. 537.

62
 Cave 1 7

Cave 1 7 Above: Yaksha-couple on the

door-lintel, Cave 1 7

As indicated by an
inscription incised on the greatest ornamentation.
left wall outside the The base of the latter is
verandah, this magnificent supported by eight figures
monastery owes its origin of lions, seated back-to-
to the piety of a feudatory back, but with four heads.
of the Vakataka king The doorway of the
Harishena. Below the shrine is elaborately carved
inscription and overlooking in several compartments
a cistern, mentioned in the with floral designs, figures
inscription but now closed, of Buddha, female door¬
are figures of Buddha in keepers, scroll-work,
relief. Similar on plan to the twisted-rope design,
contemporaneous Cave 16, pilasters and lotus-petal.
the shrine has, however, Particularly pleasing are
no side-aisles but has the females standing on
an antechamber., makaras in the corner-
Except the two central projections. The decoration
columns in the front and of the pillars and pilasters
back rows, the pillars of the of the antechamber is also
hall are simple octagons very ornate. The back-slab
with bracket-capitals. The of the image of Buddha,
former are elaborately seated in teaching attitude,
carved, the two middle ones is detached from the back
of the back row having the wall of the shrine. Buddha

63
AJANTA

is here flanked, as usual, by litheness of the figures are

the figures of PadmapanI very effectively drawn. The
and VajrapanI holding figure of the flute-player
chamaras. Two additional with her back turned
figures, one of them specially exhibits the skill
holding a bowl, stand on and imagination of the
the floor near the corners artist in drawing his subject
of the pedestal, which is in different poses. A little to
relieved with the dharma- the right on a rocky ledge is
chakra between two deer. a pair of kinnaras.
The pillars of the The next scene on the
verandah have moulded left shows a princely couple
bases and bracket-capitals. seated at ease within a
A stairway immediately pillared porch, the prince
outside the verandah leads offering his consort a cup of
down towards the defile. wine. The pose of the lady
This monastery, which is particularly charming.
has preserved the greatest Next, the same couple
number of murals, is noted proceeds towards a
for a number of master¬ city-gate in a sad and
pieces. The topmost panel pensive mood. Beyond the
on the doorway depicts the gate is a prince engaged in
figures of seven Manushi- distributing alms. The large
Buddhas together with assemblage of beggars,
Maitreya, the Future mendicants and ascetics
Buddha, seated under their offers a study of different
respective Bodhi trees. Below characters in various
them is a representation of attitudes. These scenes
eight amorous couples. are reminiscent of the
The panel to the left of Vessantara Jdtaka (no. 547)
the doorway on the back where Vessantara, before
wall of the verandah is proceeding on banishment,
much damaged, but on the disclosed the news of his
left of the fairly well- exile to his wife and
preserved upper part can performed his gift of 'seven
be seen the king of the gods hundreds'.
flying amidst clouds with The subject on the left
his troupe of celestial wall of the verandah is
nymphs (apsaras) and unique in conception. The
musicians. The weightless gigantic but damaged
soaring movements and wheel, upheld by a pair of
green hands, may be
1 They are Vipasyin, Sikhin, Visvabhu,
Krakuchchhanda, Kanakamuni, Kasyapa appropriately termed the
and Sakyamuni. 'Wheel of Life', as its

64
 Cave 17

compartments delineate Above: Apsara, Cave 1 7

Life in its various roles.

Below it is the fragmentary right angles to this wall
figure, in green, of represents the Buddhist
Manibhadra whose name is litany to Avalokitesvara
also recorded. The wall at against the Eight Great
Perils (see p. 42). The
1 This wheel has been supposed, on damaged figure of
Tibetan analogy, to represent the Avalokitesvara holds a
Buddhist doctrine of 'Causation', L.A.
vessel in the left hand.
Waddell in Journal of the Royal Asiatic
Society U Great Britain and Ireland, The figures of apsaras in
18y4, pp. 367 ff. the panel to the right of the

65
AJANTA

door eloquently bespeak verandah has a group of

the consummate skill six figures, their hands
of the painter even in their arranged in such a way
damaged condition. that though each figure
Specially attractive is the has one hand only it gives
figure of the apsaras with the appearance of having
a turban-like head-gear. two hands.
The panel further right The walls of the hall
depicts the subjugation of of the monastery are all
Nalagiri by Buddha, one of embellished with various
the Eight Great Miracles of Jatakas. Starting from the
the life of Buddha. front wall to the left of the
Devadatta, the jealous main entrance is seen the
cousin of Buddha, in league Chhaddanta Jat aka, a version
with King Ajatasatru of of which we have already
Magadha, plotted a number met with in an early
of murderous attacks on painting of Cave 10
Buddha. Once he let loose {see p. 54). Though much of
against Buddha an this panel has peeled off
infuriated elephant called and the incidents are not
Nalagiri on the streets of painted in a chronological
Rajagriha. But the elephant, order, the main themes of
on reaching Buddha, the story can easily be
prostrated, and Buddha followed.
stroked his head with great In the top left corner is
compassion. In the panel the bedroom of the queen,
can be seen the king's who, on the pretext of
palace, where Devadatta is illness, is plotting over the
conspiring with Ajatasatru, death of Chhaddanta. In the
a street of Rajagriha with its lowest panel the royal
shops, the maddened elephant, along with the
elephant causing great herd, is disporting in a
havoc and alarm among the lotus-lake. On the right, a
citizens and his ultimate hunter couple watches the
submission at the feet of elephant from a rock
Buddha. infested with monkeys.
The right wall of the On the extreme top the
verandah depicts Buddha hunter Sonuttara aims his
preaching to the arrow at the elephant.
congregation. The ceiling
of the verandah is painted 1 It was a common practice with the
artists of Ajanta to group the episodes
with various designs in
of a story according to the place of
compartments. The central their occurrence and not according
panel of the ceiling of the to their sequence.

66
 Cave 17

Lower down Sonuttara window and small door.

is paying obeisance to the Bodhisattva, born as the
benevolent elephant and king of monkeys, lived with
is next proceeding towards his retinue on the bank of
the capital. To the left of the Gahga and ate the fruits
this comes the denouement, of a mango tree, to get the
when the queen, lying on delicious fruits of which
a bed supported by the king Brahmadatta of
king, dies at the sight of Varanasi besieged it.
the tusks. Finding his troops in
The next scene, the imminent danger of death,
Mahakapi Jataka I (no. 407), Bodhisattva made a bridge
is painted over the window partly by means of a
and the space between the bamboo-shoot and partly
by stretching his own body
Below: Painting on the ceiling for the safe escape of his
of the verandah, Cave 1 7 followers. His rival

67
AJANTA

Devadatta, also born as a scene and the lower a king

monkey, finding it an holding a sword within a
opportunity to crush him, pavilion, has not been
jumped on his body with identified.
such a spring that it broke The subject matter of the
his heart. Brahmadatta, next panel, which continues
touched by the spirit of self- on the adjoining face of the
sacrifice, gently brought pilaster, is the Harhsa Jataka
him down. Before his death {see p. 42). The figure of the
Bodhisattva gave the king fowler emerging with two
an instructive discourse. geese from the lotus-lake is
To the left of the door is seen on the pilaster. The
painted a river, full of fish flight of the panic-stricken
and aquatic animals, in geese is worth noticing. The
which some persons are second episode is laid in
bathing. On the left is the court of the king of
the king on horseback, Varanasi, who, with his
accompanied by his armed queen and attendants, is
followers, some of whom listening to the discourse of
are aiming arrows towards Bodhisattva. The two geese
the monkeys. On the are seen seated on thrones.
extreme top the monkeys The Vessantara Jataka
are escaping over the (no. 547) covers the entire
stretched body of left wall between the two
Bodhisattva, who is seen pilasters. Bodhisattva, born
again below in a blanket as prince Vessantara, was
held by the king's an incarnation of generosity
attendants. Above the and charity. His father, king
window, the monkey is Sahjaya, was forced by his
seen preaching to the king. subjects to banish him to
The indistinct panel Mount Vaniika, as he had
beyond the side-door given away a supernatural
represents the Hasti Jataka, elephant, gifted with the
which also occurs in power of causing rain, to
Cave 16 {see p. 62). The the Brahmanas of Kalihga,
hungry wayfarers are seen which was suffering from
busy over the carcass of the drought.
benevolent elephant who Vessantara left the
was none else than capital with his wife, son
Bodhisattva. and daughter in a chariot.
The next panel on the On his way he gave away
left wall is divided first his horses and next his
vertically into two scenes, chariot to supplicants and
the upper depicting a court- arrived on foot at the hill.

68
 Cave 1 7

Above: Hamsa Jataka, Cave I 7 with his father and

children.
where he lived with his The story starts at the
family in a hermitage extreme left, where
provided by the god Sakra. Vessantara breaks the news
The prince next made a of his banishment to
gift of his children to a Maddi. The main incidents
Brahmana called Jujaka and that follow - Vessantara's
even gave away his wife farewell to his father and
MaddI to Sakra disguised mother, his drive with his
as a Brahmana. Sakra, family in a chariot of four
however, gave her back, horses through a bazar-
and through his grace street, his life in the
Vessantara was reunited hermitage, his gift of the

69
AJANTA

children to Jujaka in the On the lower half of the

absence of Maddi, detained wall between the back
away from the hermitage pilaster and the cell-door is
by wild animals, the the representation of the
redeeming of the children Mahakapi Jataka II (no. 516),
by their grandfather on where Bodhisattva, born
payment of a heavy ransom as a monkey, hauled a
and the return of Maddi husbandman out of a deep
and Vessantara to the abyss into which the latter
capital - are clearly had fallen while roaming in
discernible despite the bad a forest in search of his
preservation of the strayed oxen. The
painting. ungrateful man made an
attempt on the life of his
Below : Scene from Vessantara saviour, while asleep, by
Jataka, Cave 1 7 flinging a stone at him.

70
 Cave 1 7

Notwithstanding this On the left the monkey is

ungrateful act Bodhisattva being approached by the
showed him the way out. penitent husbandman.
The story commences at the The battle-scene above
bottom right corner, where this may be related to the
the husbandman is seen Maha-Sutasoma Jataka
perched upon a tree. Next, (no. 537), the subject-matter
he is on the back of the of the back wall to the left
monkey who is lifting him of the antechamber. In this
up from the pit. Above this Jataka Bodhisattva, born as
is the malevolent person on Sutasoma, prince of the
the point of throwing a Kuru kingdom, cured
stone on the sleeping Saudasa, son of king
monkey, who evidently Sudasa born of a lioness,^
jumped aside in time, as his of his cannibalism.
figure on the right shows. The different episodes in
this complex composition
are not depicted in a proper
sequence. The story starts
from the bottom right
corner between the first and
the second cell-doors where
the figure of king Sudasa
emerges on horseback from
the city-gate. He is out on a
hunting expedition and is
accompanied by his retinue
including a pack of hounds,
unnaturally drawn, chasing
the deer. Next is the lonely
figure of the king on horse¬
back in a forest infested
with animals, above which
is a lioness licking the feet
of the sleeping king, who is
seen, further above, seated
on a rock with the lioness
in front. A little above,
towards the right is the
march of the lioness
towards the palace-gate
through a bazar-street
1 The lioness-episode is told in the
]ataka-mdla, p. 209.

71
AJANTA

Above: Scene from Vessantara flesh from an impaled man,

Jataka, Cave 1 7 the cooking of the flesh so
acquired and the king
amidst astonished being served with it.
spectators. In the extreme Immediately above the
right corner the lioness is panel representing Sudasa
ushered into the presence of leaving for hunt is seen a
the king, who has taken the victim escaping from the
child on his lap. Below this royal cook. Above this is
is delineated the education the appeal of the subjects
of the prince Saudasa: on to Saudasa to give up his
the right he is writing on a pernicious habit.
tablet and on the left is Saudasa's valiant stand
practicing the throwing of against the attacking force
javelins. To the left of this is is drawn below the javelin-
shown the coronation of throwing scene. The
Saudasa. His cannibalism episodes after his
indicated in the three banishment in the forest,
adjoining scenes in which which occupies the left side
are shown the cutting of of the composition, are

72
 Cave 1 7

obscured by damage. and other aquatic animals

Bodhisattva Sutasoma, who in a pond, is still visible.
was one of the one hundred Below the Sarabha-miga
and one princes' captured Jataka, between the two cell-
by Saudasa for a holocaust doors, is the representation
and was responsible for the of the Mati-posaka Jataka
latter's eventual conversion, (no. 455). Bodhisattva, born
can be seen on the shoulder as an elephant, once carried
of Saudasa at the time of a strayed forester on his
his capture in a lotus-lake. back out of the forest. The
On the back wall to the state elephant having died,
right of the antechamber the king of Varanasi caught
can be recognized four Bodhisattva following the
Jataka representations. The clue given by the forester.
one occupying the major In the palace the animal
portion of the upper half refused all nourishment
is the Sarabha-miga Jataka thinking of the helplessness
(no. 483), where Bodhisattva of his blind mother, to
born as a stag, rescued the whom he was greatly
king of Varanasi, who had attached. Moved to pity the
fallen into a deep pit while king released him. On the
pursuing th^ former. The top panel, on the right side,
hunting party appears in the elephant is seen refusing
the middle portion, while the proffered food. In the
on the right is seen the stag, lower panel, on the extreme
first practising with a stone left, he is being led by the
to enable him to carry the retinue of the king, above
weight of the king and next which is delineated the
carrying the king himself happy return of the joyous
on his back. animal. In the extreme right
To the right of the he is seen bathing his
Sarabha-miga Jataka is the fondling parents.
Machchha Jataka (no. 75), The next Jataka, beyond
where Bodhisattva, in his the cell-door, is the Sama
fish-incarnation, made the Jataka (see p. 54). At the
king of gods cause rainfall bottom is shown the
by a solemn profession devoted Sama carrying his
of goodness in order to old blind parents in slings
save his kinsfolk, being suspended from a bamboo-
devoured by birds during rod placed across his
a drought. In the much- shoulder. Above, the king is
damaged panel the figure carrying Sama, who is next
of a big fish, surrounded by shown as preaching to the
a number of smaller ones king. The topmost panel

73
AJANTA

depicts Sama with his by the latter, who have

pitcher in a lotus-lake. assumed beautiful forms
The Mahisa Jataka to entice them. Siihhala,
(no. 278) is painted on the apprehending danger,
right wall to the left of the accepted the offer of
cell-door. Bodhisattva, in Bodhisattva, born as a
his birth as a buffalo, used horse, who carried back the
to rest under a tree and former along with some of
suffered a monkey who his companions. The flight
tortured him with impunity. of the horse is shown above
Once another buffalo the scenes of revelry After
happened to stand under alighting near a gateway
the same tree. The monkey Siihhala is seen kneeling
started his usual cruel before the horse in
pranks but was thrown gratitude. Those
away and trampled to companions of Siihhala,
death. On the bottom the who failed to resist the
monkey is seen putting his fascinations of the lovely
hands on the eyes of ogresses and stayed behind,
Bodhisattva; above the were devoured by the
monkey, now thrown down rdkshasTs, who now
is looking with awe at the assumed their real forms,
fierce buffalo. as seen in the panel. One
The right wall between of the rdkshasTs, disguised
the two pilasters depicts as a beautiful woman,
with great effect one of the pursued Siihhala to his
largest compositions - the place with a child and
story of Sirhhala's conquest claimed him as her
of Sri Lanka as narrated husband. Thwarted by him
in the Divyavadana,^ she approached the king,
supplemented by some who became enamoured of
details from the Valdhassa her beauty and took her as
Jataka (no. 196). The story his wife. The tragic
begins at the bottom right appearance of the minister
end, where the shipwreck in the court-scene suggests
in the voyage of Siihhala, that he failed in his attempt
accompanied by five to dissuade the king from
hundred other merchants, his hasty action, the result
is drawn. Above are shown of which is shown on the
the merchants, cast ashore, extreme left, where the king
on an island of rdkshasTs is being devoured by the
(ogresses) being entertained ogress, and other rdkshasTs
are seen killing the inmates
1 The Divyavadana, pp. 523-28. of the palace. Vultures

74
 Cave 17

hovering over the closed Above: Part of story of

palace-gate alarmed the Siifihalavadana, Cave 1 7

people, but Simhala

climbed up the palace-wall of the island. The
by a ladder and chased the benevolent horse, the
ogresses out. saviour of Siihhala, is also
The crossing of the sea introduced in this scene.
by the army of Siihhala, The pilaster next to this
who later led an expedition episode contains the
to the land of the ogresses famous toilet-scene, a
to punish them, and the masterpiece of the painter's
ensuing battle are depicted brush-work. The adjoining
between the second and the wall introduces the Sibi
third cell-doors. Above this Jataka (no. 499), where king
is the celebration of the Sibi made a gift of his eyes
coronation of Siihhala, who to Sakra, disguised as a
ultimately became the king blind Brahmana. The world

75
AJANTA

Sibiraja is written at three panel to the right of the

places below the royal cell-door represents Sibi
figures. On the bottom undergoing acute pain at
panel to the left of the the extraction of his eyes to
cell-door is seen the figure be given to the blind
of Sibi, surrounded by Brahmana. The expression
courtiers and ladies, taking of the ladies witnessing his
the solemn vow of giving affliction is effectively
his limbs to any supplicant. drawn. Above this is one of
The figure of ^akra, who the alms-halls of the king
thought of testing the king built near the city-gate. The
is discernible in the left top lotus-lake, where the king
corner. The corresponding repaired after the gift of his
eyes, is apparently painted
Below: Toilet-scene, Cave 17 on the pilaster, which

76
 Cave 17

shows two princes seated scene depicts the return of

on a lotus in a lake; the king along with the
evidently they are Sibi and deer, carried with great
Sakra, the latter having honour on a chariot.
now come to restore Sibi's The next panel, much
eyesight. The incidents effaced, between the two
above the first scene windows, probably depicts
represents the return of Sibi the release of a deer from
to his capital amidst great the hunter's snare by a bear,
pomp and rejoicing. himself shot by the arrow
The subject of the next of a hunter, whose hands
painting covering the front fall off from his arms in
wall to the left of the punishment for this evil
window has been identified deed. Like the preceding
as the Ruru Jataka (no. 482), panel, this relates to some
though the absence of the Jataka, which has not yet
essential detail of the story, been traced.
viz., Bodhisattva's saving The rest of the wall up
the merchant's son from to the door contains the
drowning himself, may Nigrodhamiga Jataka (no. 12).
indicate a different The Banyan Deer
identification. Moreover, (Bodhisattva) and the
hunters are represented Branch Deer, along with
here as giving out their respective herds, were
information about the deer entrapped into the royal
to the king, who has park of the king of
proclaimed a reward, as Varanasi, who was fond of
suggested by the figure of a deer-flesh. In order to avoid
drummer in the top scene. random killing, the
In the bottom scene the members of the herd
king is seen arriving with decided to send a victim
his retinue and hunters in each day to the slaughter¬
the forest, the abode of the house by casting lots. The
deer. The king is shown lot having once fallen on a
twice, first on horseback pregnant doe, Bodhisattva,
and next as standing who had been granted
astonished at the unusual immunity by the king,
sight of the hunter’s hands offered himself as a
being miraculously substitute. The spirit of
chopped off as soon as the sacrifice moved the king so
latter attempted to capture much that he granted
the deer - an episode which immunity to all creatures.
again does not find place in The lower part of the
the Jataka story. The middle painting between the door

77
 Cave 17-18

and the window depicts the where he repaired after the

deer in the royal park. In Miracle; in the middle is his
the upper panel the Banyan descent at Sarhkasya from
Deer is seen in the kitchen that heaven in the company
ready for slaughter. On the of Sakra and Brahma by
right side is the kneeling means of stairs provided by
figure of the astonished Sakra; down below is the
cook, who reported the great assembly Sarhkasya,
matter to the king, the latter where Buddha made
seen again before a pillared known to the world the
apartment near the kitchen- wisdom of Sariputra, his
hut, speaking to the deer. premier disciple, by putting
The deer is next seen on a him more and more
throne, presumably difficult questions. The
delivering sermons to the group of devotees on the
royal couple seated on the left side includes the figures
ground. The last scene of of a number of foreigners.
the story is depicted above The back wall of the
the window, where a stupa antechamber, to the left of
and a congregation of birds the door, depicts Buddha's
and animals, apparently wife putting forward
expressing their gratitude Rahula, the latter begging
to Bodhisattva, can be made his patrimony of Buddha
out. The place where the who puts forward his
deer were granted immunity begging-bowl.
came to be known as The scheme of the
Migadaya (Mrigadava, ceiling decoration of the
modern Sarnath). nave is different from its
The walls of the counterpart elsewhere in
antechamber are painted that instead of being
with incidents from divided into small
Buddha's life. The right individual panels, the
wall depicts the well- designs here are arranged
known Miracle of Sravastl. in a unified pattern.
The incidents following
the Miracle were delineated
in three vertical scenes on Cave 1 8
the left wall: on the top
Buddha is preaching the This is merely a rectangular
abhidharma to his mother excavation, having two
in the Trayastrirhsa heaven. pillars with moulded bases
and octagonal shafts and
Le/t. Buddha in Kapilavastu, leading into another cell,
Cave 1 7 mostly collapsed.

79
AJANTA

Cave 19

This small but singularly

well-proportioned chaitya-
griha' is one of the most
perfect specimens of
Buddhist rock-cut
architecture. Though
separated in date from the
earlier chaitya-grihas by
several centuries, being a
product of the end of the
fifth century AD, it
orthodoxly maintains the
older plan with the only
innovations that the image
of Buddha is now
introduced on the votive
stupa and elaborate
ornamentation has been
restored to in the different
members. The imitation
of wooden adjuncts still
persists in the stone ribs of
the vaulted ceiling, but the
actual use of wood in
beams, rafters and
crowning umbrellas
has been eliminated.
Of the seventeen
interior pillars, thirteen
resemble those of Cave 1,
both in workmanship and
design, their capitals having
the seated figures of
Buddha at the centre and
the projecting brackets

Right: Facade, Cave 19

1 The gandhakuti made by the

feudatory of the Vakataka king
Harishena to the west of Cave 1 7,
noted in the inscription of Cave 1 7,
possibly refers to this cave.
 Cave 19

being occupied by standing figures emerging

elephants or sardulas with from the corresponding
riders, flying couples, pillars, of which only the
hermits and musicians. The leg-portions are now
capitals of the remaining present. The ceiling of the
four pillars in the front row aisles is flat.
resemble those of the pillars The exquisitely
of the verandah of Cave 2, decorated fagade of the
and the two front pillars are cave, with a small but
further distinguished by the elegant pillared portico and
bracket-figures of sdla- projected ornate cornice,
hhanjikds. The triforium is dominated by the chaitya-
relieved with the figures window flanked by
of standing and seated corpulent figures of yakshas
Buddha in compartments, against a background of
separated by panels of delicately-carved friezes, is
scroll-work interwoven magnificent in conception
with animal and human and workmanship - a
figures. The votive stupa, combination of richness
with an elaborate and of details and graceful
elongated drum and a proportions. The fagade and
globular dome, is carved
with the figure of Buddha
standing under an arch
which springs from the
mouths of makaras resting
on pilasters. Its crowning
elements consist of a
harmikd and three
diminishing chhatrdvalis
supported by figures and
surmounted by a finial in
the shape of a small stupa
with a miniature harmikd
almost touching the vault.
From the top of the lower
harmikd hang garlands. The
floor of the apse is slightly
higher than that of the
nave, its front corners being
guarded originally by two

left: Chaitya-griha, Cave 19

Right: Yaksha, facade of Cave 1 9
AJANTA

the side-walls are relieved design of the vase over¬

with a balanced array of flown with fruits and
multiple figures of Buddha, foliage. On the left wall at
of which the two standing right angles to the facade is
ones, immediately flanking the beautiful figure of a
the entrance, with ornate naga couple seated on a
crowns held over their rock with a female chamara-
heads by flying gams bearer standing on the left
distinctly foreshadow the side. Despite the pitted
crowned Buddhas of the surface of the rock the
later period. figures exhibit a remarkable
In front there is a serenity of expression and
courtyard with side-chapels elegance.
flanked by two cells. The The walls of the hall are
pillars of the right chapel, painted with figures of
which is intact, are most Buddha in different panels;
gracefully decorated.
Especially attractive is the Below: Naga couple, Cave 19

84
 Cave 19

the one on the left wall, Above: Buddha to the right of the

opposite the sixth pillar, entrance door, Cave 19

represents Buddha giving

his begging-bowl to Rahula, figures are cleverly
the latter put forward by interwoven. The ceiling of
his mother Yasodhara. The the front aisle is painted in
ceiling of the side-aisles is small panels, of which the
decorated with a running one containing an elephant-
floral motif in which fight is particularly
animals, birds and human noteworthy.

85
AJANTA

Cave 20 sikhara of a temple. The

back wall of the narrow
This small monastery shrine is carved with an
presents a new feature in its image of Buddha in
antechamber advancing teaching attitude
into the hall. The pillars accompanied by the usual
and pilasters of the chamara-bedrers and flying
verandah, while resembling figures. Most of the
those of Cave 1, have paintings have now
bracket-figures of graceful disappeared. The pilaster at
sala-bhanjikas on each side the left end of the verandah
of the capitals. The ceiling contains a fragmentary
of the verandah has inscription recording the
imitation beams and rafters. gift of the mandapa by one
The design of the lintel of Upendra. Based on
the door with two arches, in palaeographical grounds
the form of elephants this record has been
trunks issuing from the assigned to a period
mouths of makaras, is again between AD 450 to 525.
an innovation. The capitals
of the pillars of the
antechamber resemble Cave 21
those of the pillars of the
verandah of Cave 2 and The pillars of the verandah
support an entablature of this monastery have
carved in panels with seven perished. The pilasters have
Buddhas accompanied by a half and a full lotus-
attendants. The narrow medallions with makaras at
walls beyond the pilasters the centre. At each end of
are carved in three vertical the verandah is a cell with a
compartments with nagas, porch supported on ornate
amorous couples with pillars. The entablature
attendants and females above the pillars of the left
standing on makaras under porch is carved in three
a tree. The male companion panels; the central one
of the right one, it is contains a ndga king with
interesting to note, stands his queens and attendants
on a tortoise. and the side ones have
The hall has no pillars, figures of yakshas. The
and some of the cells are subject-matter of the central
somewhat unfinished. The compartment on the fac^ade
doors of two of the cells of the right porch is
have above their lintels a probably HaritI with
design which resembles the attendants (see p. 38).

86
 Cave 20-23

There are four such cells with the feet resting on a

with similar pillared lotus in the back wall of the
porches on three sides of shrine, is of poor
the hall - one at each side workmanship. On the right
of the ante-chamber and wall of the shrine, above
one in the middle of each the carved seated figures
side-wall. Besides, there are of Buddha, are painted the
eight more cells. seven Manushi-Buddhas
The pillars of the hall, with Maitreya under their
twelve in number, though respective Bodhi trees. The
resembling those of Cave 1, names of each of the
are heavy and have Buddhas and trees are
disproportionately high written respectively below
square bases. The back wall and above each
of the shrine is carved in representation. There is also
high relief with a seated a dedicatory painted record
figure of Buddha in underneath the group. On
teaching attitude. the right wall, near its
Most of the paintings junction with the back wall,
have now perished. The can be seen another painted
fragment of a panel record below the painted
representing Buddha figures of the ndgas holding
preaching before the the stalk of the lotus on
congregation can be seen which is seated a carved
on the left wall between figure of Buddha.
the porch and the pilaster.
The freshness of the blue
colour is notable in a few Cave 23
fragments of the ceiling-
paintings. Almost similar on plan and
in dimensions to Cave 21,
the shrine, antechamber
Cave 72 and side-cells with pillared
porches of this monastery
This small monastery with were left incomplete.
a narrow verandah and The pillars of the verandah
four unfinished cells is are all intact and, along
excavated at a higher level with the pillars of the hall
and is approached by a and porches, display
flight of steps. The hall is fine workmanship in
astylar, and the usual ornamental details.
antechamber is absent. The A similar skill is shown
figure of Buddha, seated in in the decoration of the
the pralamba-pMa attitude finished pilasters, of which

87
AJANTA

Above: Decoration on a pilaster, mostly perished, but have

Cave 23 how been reconstructed.
The decoration on the
the front one on the right surviving fragments and on
wall of the hall, with a the right pilaster displays
figure breaking open the an exuberance of details
jaws of a makara within the executed with a
medallion, is particularly consummate skill and
striking. The naga refined taste. In the bracket-
doorkeepers of the door¬ capital for instance, though
jambs, each with a foot the design is quite common,
resting on an elevated yet nowhere else is the
platform, are noteworthy. treatment so lavish and
Traces of plaster can be finished. Here, again, do we
seen on the ceiling of see the culmination of the
the verandah. characteristic pilaster-motif
admirably loaded with
details. The lintel of the
Cave 24 door has a beautiful frieze
of flying figures, the two
This monastery, if central ones holding a
completed, would have crown. The incomplete hall
been one of the grandest was designed to have
monasteries and the next twenty pillars, of which
largest after Cave 4. The only one is somewhat
pillars of the verandah had finished and resembles

88
 Cave 23-26

those of Cave 1. On the left astylar hall. Except for the

wall outside the verandah two cells on the left end of
was hewn out a chapel with the verandah, there are no
a pillared porch. The back cells around the hall. Nor is
wall of the chapel has the there any shrine. The pillars
figure of Buddha seated in of the verandah have
the pralamba-pMa attitude moulded bases, octagonal
with attendants and flying shafts and bracket-capitals.
figures. Remains of an
ancient staircase can be
seen beyond the modern Cave 26
parapet. This monastery
is most probably one of the This chaitya-griha is larger
latest to be excavated at than Cave 19 but follows it
Ajanta. in general arrangement and
decoration. However, the
ornamentation, executed in
Cave 25 meticulous details, gives
the feeling of an excess and
This small unfinished a lack of the graceful
monastery, excavated at a proportions and rhythmic
higher level, has an correlation of that cave.
enclosed courtyard, a It has a pillared verandah
pillared verandah and an extending across the entire
front and three entrances.
BeloiP: Bracket capital, Cave 24 The pillars, the triforium.

89
AJANTA

the fagade and even the Above: General view, Cave 26

interior wall are carved

with decorations in which carved with a figure of
the figure of Buddha Buddha seated in the
predominatesJ The stupa pralamha-pMa attitude
proper has been relegated under a pavilion. The
to the background and has crowning members above
become almost an the harmika have crumbled
ornamental member, the down. The usual cliche of
emphasis being more on the figures of Buddha on the
elongated and decorated walls of the aisles is,
plinth, the front of which is however, relieved by two
scenes, one representing
1 There are reliefs of Avalokitesvara the mahaparinirvana of
with devotees, in danger, praying for
Buddha and the other, the
succour, on the triforium and the
space below the opening of the Assault and Temptation of
c/io/tyo-window. Mara. The former, carved

90
 Cave 26

on the left wall near the collapse of the pillared

side-door, contains a verandah. At each end of
colossal figure of Buddha the verandah is a pillared
reclining on his right side chamber, the right one
on a couch between two leading to two cells, and
sala trees; below are the the left one to one cell. An
figures of his disciples and inscription engraved on the
followers mourning his back wall of the verandah
decease, and above are over the right side-door
celestial beings. The second records the gift of the
scene also occurs on the temple of Sugata (Buddha)
same wall. Here Buddha is by the monk
seated, with his right palm Buddhabhadra, a friend of
in the bhumisparsas mudra Bhavviraja, who was a
under the Bodhi tree at the minister of the king of
centre; on the left is Mara
on an elephant Below.■ Temptation of Mara,

accompanied by his host of Cave 26

demon-forces attacking
Buddha; on the right is the
retreat of Mara; in the
foreground are the
daughters of Mara trying
to tempt Buddha by dance
and music; and in the
bottom right corner is the
figure of the dejected Mara.
The right wall near the
side-door has an unfinished
figure, of which only the
outline is drawn. Much of
the painting, which had
little scope for originality
due to the lack of plain
uncarved surface, has
perished. The uncarved
sides of the brackets have
paintings of four-armed
dwarfs with the upper
two hands in the
attitude of supporting
the superstructure.
The beauty of the
fagade is marred by the

91
AJANTA

Above: Interior, Cave 26 Avalokitesvara {see p. 42).

The continuation of the
Asmaka. The palaeography same wall on the verandah
suggests a date between has a standing figure of
AD 450 and 525 for the Buddha in the abhaya-
inscription. mudra. The chapel has on
In front of the verandah its left wall an image of
is a courtyard having a Buddha in teaching
complex of a subsidiary attitude. To the left of the
chapel with cells on either image is a stone bed with
side. The one on the right, a raised pillow on one side.
having a cell, a pillared There is a cistern attached
verandah and a landing to this chaitya-griha beyond
approached by a few steps, the courtyard. The latter
is mostly destroyed. The had originally a front screen
left wall of this landing with an opening for the
contains two carved panels door approached by a
representing the litany to flight of steps.

92
 Cave 26-29

a couple and a female

standing gracefully on a
makara with a bird perched
on her right hand and her
left hand resting on the
head of a dwarf.
The shrine has an image
of Buddha in teaching
attitude on its back wall.
Of the cells around the hall,
only four on the right half,
one of them having a porch,
have survived. The major
part of the left half of the
hall along with the roofs
of the shrine and the
antechamber has collapsed.
The cave cannot properly
be called an independent
monastery, as it forms an
adjunct to Cave 26. The
unfinished upper storey
has suffered greatly by
landslide.

Cave 27 Caves 28 and 29 ^

The landing’ and the Of the two remaining caves,

verandah on the left side of the one beyond Cave 27 is
the court of Cave 26 leads an unfinished monastery, of
to a small hall, which has a which only the pillared
shrine and an antechamber verandah was excavated.
facing the entrance-door. The other, a chaitya-griha in
The antechamber advances its first stage of excavation
into the hall. Its narrow has been scooped out at the
front wall to the right of the highest level, above the
pilaster is divided vertically area between Caves 20 and
into three compartments 21. Both the caves are now
containing a mga-raja, almost inaccessible.

1 The right wall of this landing contains a Rashtrakuta record.

2 Respectively numbered 29 and 28 by Burgess.

93
On the right bank of river Above.- Structural remains of a

Waghora, overlooking burnt-brick monastery

the horseshoe curve of

the rock-cut caves, some Important antiquities
potsherds and antiquities encountered during the
were encountered while excavations and from
the area was being the explored area include
subjected to plantation. a terracotta plaque of
Consequently, excavation Mahishasuramardinl.
was carried out by Also found is a circular
taking a couple of trial silver Kshatrapa coin of
trenches during the field Visvasena (AD 294-304);
seasons in 1999-2000 its obverse bears the
and 2000-2001, by the bust of the king, while
Aurangabad Circle of the the reverse has an in¬
Archaeological Survey of complete Brahmi legend
India. The excavations which reads as 'Visvasena
reported structural Ranyo Mahakshatrapasy'.
remains of a burnt-brick A Roman gold coin
monastery with cells (2 cm diameter) attributed
opening in the central to the Byzantine king
courtyard. Theodosius II

94
 Above: Kshatrapa coin of
Visvasena,- obverse and reverse

(circa AD 402-450) was

also found. Besides, a few
semi-precious stone
beads have been
unearthed.
Fresh numismatic
data has corroborated
to the archaeological
chronology of Ajanta.

Right: Terracotta plaque of

MahishasuramardinT
Below: Roman gold coin of
Byzantine king Theodosius 11
(circa AD 402-450),-
obverse and reverse

95
AJANTA

Select Bibliography

Ajanta Frescoes, India Society Kern, H. (ed.), The jataka-mala by

(London, 1915). Aryasura (Boston, 1891).
Brown, Percy, Indian Architecture Kern, H., Manual of Indian
(Buddhist and Hindu) Buddhism (Strassburg, 1896).
(Bombay, 1942). Mirashi, Vasudev Vishnu,
Burgess, Jas. and Indraji 'Inscriptions of the Vakatakas',
Bhagwanlal, 'Inscriptions from Corpus Inscriptionum
the Cave-temples of Western Indicarum, V., pp. 103-29
India', Archaeological Survey (Ootacamund, 1963).
of Western India, no. 10 Okada, Amina (with photographs
(Bombay, 1881). by Jean-Louis Nou), Ajanta (Paris,
Burgess, Jas., 'Report on the 1991; Indian ed., Delhi, 1995).
Buddhist Cave Temples and their Paramasivan, S., 'Technique of
Inscriptions', Archaeological the Painting Process in the Cave
Survey of Western India, IV Temples at Ajanta', Annual Report
(London, 1883). of the Archaeological Department
Cousens, H., Architectural of H.E.H. the Nizam's Dominions,
Antiquities of Western India 1936-37, pp. 25 ff
(London, 1986) (Calcutta, 1939).
Cowell, E. B., and Neil, R. A., Parimoo, Ratan; Kannal, Deepak;
The Divyavaddna Pannikar, Shivaji; Poduval,
(Cambridge, 1886). Jayaram; and Sharma,
Cowell, E. B., The Jdjata, l-VI Indramohan (eds.). The Art of
(Cambridge, 1895-1907). Ajanta, New Perspectives, 2 Vols.
(New Delhi, 1991).
Fergusson, James, and Burgess,
James, The Cave Temples of India Schlingloff, Dieter, 'Kalyanakarin's
(London, 1880). Adventures. The Identification of
an Ajanta Painting', Artibus Asiae,
Foucher, A., 'Preliminary report
XXXVIli, 1, pp. 5 ff.
on the interpretation of the
paintings and sculptures of Schlingloff, Dieter, Ajanta
Ajanta', The journal of the Paintings (New Delhi, 1991).
Hyderabad Archaeological Society Spink, Walter M.,
for 1919-20, pp. 50-111 Ajanta: A Brief History & Guide
(Bombay). (Asian Art Archives, University of
Ghosh, A. (ed.), Ajanta Murals Michigan, Ann Arbor).
(New Delhi, 1967). Spink, Walter M.,
Goloubew, V., 'Documents 'The Archaeology of Ajanta',
pour servir a I'etude d' Ajanta— Ars Orientalis, XXI (1991).
les peintures de la premiere Stern, Philippe, Colones Indinnes
grotte', Ars Asiatica, X dAjanta et d'Ellora (Paris, 1972).
(Paris & Brussels, 1927).
Weiner, Shiela L., Ajanta: Its place
Griffiths, J., The Paintings in the in Buddhist Art (Berkeley, 1977).
Buddhist Cave-temples of Ajanta, Yazdani, G., Ajanta (texts and
l-ll (London, 1896-97).
plates), l-IV (Oxford, 1930-55).

96
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