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Ajanta caves
The Ajanta Caves in Maharashtra, India, are a significant example of ancient Buddhist rock-cut architecture, carved over a 600-year period, and recognized as a UNESCO World Heritage site since 1983. The site contains 30 caves, including chaityas (prayer halls) and viharas (monasteries) featuring intricate sculptures and stunning frescoes that depict Jataka tales and various forms of Buddha. The art and architecture of the Ajanta Caves reflect the craftsmanship of the Satavahana and Vakataka dynasties, showcasing the pinnacle of ancient Indian artistic tradition.
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Ajanta caves
- 1. Ajanta Caves Dr. ViragSontakke Assistant Professor Center for Advanced Studies Department of A.I.H.C. & Archaeology, Banaras Hindu University
- 4. Introduction • One ofthe unique Buddhist Rock–cut Architecture in the World • Caves were carved out Rock was Basaltic (Igneous formation) • Bears over 600 years of construction history • Different dynastic patronage • Individual, guilds donations • Not only famous for architecture but also for their paintings • Its current name is derived from a neighbouring village, the local pronunciation of which is Ajintha. • Ajita is the colloquial name of Maitreya Buddha. • Declared as World Heritage Sites by UNESCO since 1983.
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- 6. Location • Ajanta situatedin Maharashtra • In Aurangabad district • 100 km from Aurangabad city • 420 km from Bombay • On Wagora river • Total 30 Caves • Numbers are given from 1 to 30. • Not related to chronological sequence
- 7. Numberings of theCaves
- 9. Elements of Ajantacaves Chaitya Vihara Paintings Sculptures, Facades, Pillars etc. Ajanta
- 10. Ajanta Cave: Period 1stPhase (Early period) Hinayan Satavahana Period 100 BCE- 100 CE Guilds and Merchants donations 2nd Phase (Later period) Mahayan Vakataka Period 460-480 CE Royal Patronage
- 11. Early Caves Satavahana Hinayana Cave no.8 Caveno.9 Cave no.10 Cave no.12 Cave no. 13 Cave no. 15A Late Caves Vakataka Mahayana Cave no.1, 2,3 Cave no. 4,5,6 Cave no. 7,11,14 Cave no.15, 16, 17 Cave no. 18,19,20 Cave no. 21 to 29
- 12. Dynastic Affiliations Ajanta Caves Vakataka Vakataka King Harisena Risikaking Upendragupta Prime Minister Varahadeva Asmaka monk Buddhabhadra Satavahana Guilds and Merchants donations
- 13. Re-discovery of theAjanta • Accidental Discovery • 28th April 1819 • By John Smith • Cave no:1o
- 14. Structural Elements • Total30 Rock Cut Caves • 5 chaityas, which are basically prayer halls (9, 10, 19, 26, and 29). • 24 caves are known as Viharas, which are monasteries with residents. • Thought to have been occupied by some 200 monks and artisans.
- 15. Chaitya • Five Caves(9, 10, 19, 26, and 29) • Early Stupa: 9,10 (No image of Buddha) • Later Stupa: 19,26 (Buddha sculpted on the front face) • A chaitya is apsidal or rectangular in form. • Has a aisles on either side • A nave with a barrel roof. • Each aisle is separated by a row of pillars. • At the end the nave contains a stupa. • The early chaityas meticulously imitated contemporary wooden structures. • Can be seen in the vaulted roof decorations and pillars.
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- 20. Vihara • A vihara,called Sangharama. • It was a monastic abode consisting of a central hall with adjoining residential cells. 1. A pillared porch or verandah. 2. Acentral hall, somewhat squarish in plan 3. Cells for monks hewn into its sides. • An antechamber connects to the garbha griha containing an image of Buddha. • architectural development proceeded from early sober, to richly ornamented pillared viharas.
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- 23. Cave 12 plan:an early type of vihara (1st century BCE) without internal shrine Plan of Viharas
- 24. Sculptures of Ajanta •Belongs to 2nd Phase (Vakataka) • Buddha was main subject • Various poses of Buddha • Inspiration from Jataka tales • Sculptures were both plastered and painted. • The garbha griha of vihara contains Buddha in seated posture (dharmachakra pravartana mudra) • Sub-deities, gana, dwarpala, Naga Kings etc.
- 27. Hariti shrine, Cave2 Naga King and his Consort, Cave 19
- 29. Facade • This wasthe front of the cave. • The façade of the caves were delicately carved. • Façade also had pillars and pilasters, • Decorative motifs on rows of chaitya arches • Central chaitya arches remain open for light and air
- 33. Pillars • Initially pillarswere just to support ceiling of the cave. • Subsequently, pillars became more and more decorative. • Also contain designs or figures of Buddha • Some pillars were carved with floral, geometric designs • Motifs like dwarf holding pillars or with musical instrument. • Painted pillars were found in four caves (Caves 2, 9, 10, 17 and 26). • Base of the pillars were painted with yaksha, nagas, and ganas.
- 36. Paintings • Currently paintingsare intact in both the earlier and later phase • Cave no 9 & 10 are belongs to Satavahana period • Paintings of early caves represented only symbolically by the Bodhi tree, paduka (wooden footwear), wheel etc. • Later period paintings are survived in Cave no 1,2, 16 & 17 • Later caves depecting Buddha murals, including Kinnara, Vidyadhara, and Gandharva etc. • Painters were mastered in easy and fluent naturalistic style • The paintings prominently narrate the Jataka stories. • The narratives flow unrestricted from one cave wall to the next with effortless flexibility. • Artist had deep understanding of nature, gesture, life, expressions etc. • Buddhist legends describing the previous births of the Buddha.
- 38. Painting Technique • Techniqueknown as fresco secco. 1. The rugged surface of the cave walls was made uneven 2. This black, pours surface provide a grip to the covering plaster 3. Plaster was made of ground ferruginous earth, rock grit, sand, vegetable fibres, paddy husk, and other fibrous materials of organic origin. 4. A second layer of mud, ferruginous earth mixed with pulverised rock powder or sand and fine vegetable fibre. 5. The surface was then treated with a thin coat of limewash over which pigments were applied. 6. Except for the black which was obtained from kohl, all other pigments were of mineral origin. 7. Terra verda or glauconite for green, lapis lazuli for blue, kaolin, gypsum or lime were of frequent use.
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- 44. Paintings • Paintings havea lot of typological variations. • Outward projections are used later phase. • Lines are clearly defined and are very rhythmic. • Body colour gets merged with the outer line creating the effect of volume. • The figures are heavy like the sculptures of western India.
- 49. Conclusion • Ajanta cavesare producing one of the finest surviving examples of ancient Indian art. • The art and architecture of Ajanta are universally regarded as masterpieces of Buddhist Art in World. • Ajanta became an important center for Buddhist religion and art under the enlightened patronage of the Satavahana and Vakataka rulers. • Ajanta Caves are adorned with wonderful paintings of the Jataka tales, which gave socio-cultural-economic aspects of the society. • Ajanta caves have an amazing blend of human and animal sculptures, painting and beautiful sculpture. • Overall, Ajanta is the pinnacle of Ancient Indian artistic tradition.
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