This Presentation in prepared for BA 1st Year Students to get basic idea and information regarding the Ajanta Caves.

1. Ajanta Caves
Dr. Virag Sontakke
Assistant Professor
Center for Advanced Studies
Department of A.I.H.C. & Archaeology,
Banaras Hindu University

4. Introduction
• One of the 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.

5. Ajanta Caves
Location
Discovery
Period
Architecture
Paintings
Significance

6. Location
• Ajanta situated in 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 the Caves

9. Elements of Ajanta caves
Chaitya Vihara
Paintings
Sculptures,
Facades, Pillars etc.
Ajanta

10. Ajanta Cave: Period
1st Phase
(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
Cave no.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
Risika king
Upendragupta
Prime
Minister
Varahadeva
Asmaka monk
Buddhabhadra
Satavahana
Guilds and
Merchants
donations

13. Re-discovery of the Ajanta
• Accidental Discovery
• 28th April 1819
• By John Smith
• Cave no:1o

14. Structural Elements
• Total 30 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.

17. CAVE-26
CAVE-10

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.

22. Viharas
Cave no 4

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, Cave 2
Naga King and his Consort, Cave 19

29. Facade
• This was the 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 pillars were 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 paintings are 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
• Technique known 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.

39. glauconite
lapis lazuli
kaolin
gypsum
lime
Black soot

44. Paintings
• Paintings have a 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 caves are 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.

50. Any Questions