Ajanta: The birthplace of Indian art

Situated on the ancient trade route of Dakshinapatha, the early phase of Ajanta was funded mostly by traders. The second phase received patronage from the Vakatakas. Stories of these donors are inscribed and painted in the caves. This view shows Cave 17 of the Ajanta Complex.

Ajanta displays the Gandhara and Mathura schools of art from the Kushana period; the Sarnath school of art from the Gupta period; and the Amaravati school of art from the late Satavahana and Ikshavaku periods. This view shows Cave 2 of the Ajanta Complex.

The rock-hewn caves at Ajanta are either chaityas (shrines), chapels or prayer halls, viharas (monasteries) or residential cells. This view shows Cave 8 of the Complex.

Dating back to the 2nd century BC, Cave 9 is a chaityagriha that is associated with the Hinayana phase of Buddhism. It has an elaborate entrance door, a beautiful facade engraved with the sculptures of Lord Buddha, a central hall and two side windows.

This cave reflects a style of architecture that features inward tapering octagonal pillars.

The monasteries at Ajanta were in operation till 8th Century CE, but were lost and forgotten till 1819.

Cave 10, shown here, is a chaitya like Cave 9. These two caves at the Ajanta Complex contain the earliest known remnants of paintings in India.

Cave 19 (shown here), and Caves 26 and 29 are chaityas of the Mahayana period. All the other caves are viharas (monasteries).

Ajanta’s art recounts the life of Lord Buddha, including his previous earthly experiences, and the Jataka tales.

Cave 26, seen here, is a chaitya, and features a sculpture of Lord Buddha in his 80th year. Above, celestial beings are depicted rejoicing Lord Buddha’s impending arrival, and below, his disciples are shown mourning the departure.

The narrative murals in Cave 15 about Lord Buddha, Avadana stories of Bodhisattva, Jataka stories and panels based on Mahayana themes from Vipulya Sutras have compelling tales to tell.

Cave 17 is one of the most remarkable structures in the Ajanta Complex. It is adorned with beautiful paintings that depict a princess attended by her maids as she applies make-up, Lord Buddha coming back home after attaining Enlightenment to plead with his wife, while his son looks on astonished. Other highlights include a royal procession, and apsaras worshipping Lord Buddha.

This panorama, from the middle-view point, offers an awe-inspiring glimpse of the Ajanta Complex’s rock-hewn Caves.

Fringed by wild foliage, Ajanta Caves are cut from the volcanic lava of the Deccan Trap. They are sprawled in a crescent formation in a ravine of the Sahyadris. The caves lie on the ancient trade route of Dakshinapatha, and are considered to be among the finest examples of Buddhist religious art.

A serene and scenic spot amidst hard rocks and lush landscape, the Waghora Waterfall emerges from the Waghur river. The river takes seven leaps and then plunges towards Cave 28, adding to the charm of the surroundings.

The only double-storey vihara among the Ajanta Caves, Cave 6 houses an image of Lord Buddha in a sitting posture. The entrance to the shrine is through an intricately carved door.

Its upper storey is surrounded by cells and the doorways are embellished with exquisite paintings and sculptures.

The shrine in Cave 7 is unique, as it houses an image of Lord Buddha in a sitting posture, with a halo carved over his head.

A splendid chaitya with an intricately detailed facade, Cave 19 is noted for its horse-shoe shaped windows and elaborate exterior. Strong and heavy-bodied yaksha guardians flank the main arch on either side, along with other jaw-dropping carvings that adorn the entrance.

Cave 24 is an unfinished vihara and had it been completed, it would have been the largest vihara in Ajanta. It was probably planned to have a hall with a pillar-lined verandah and a sanctum sanctorum. This cave is probably among the last to be excavated in Ajanta.