Ajanta Caves - Wikipedia PDF

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6/15/2021

Ajanta Caves - Wikipedia Coordinates: 20°33′12″N 75°42′01″E

Ajanta Caves The Buddhist Caves in Ajanta are approximately 30 rock-cut Buddhist cave monuments dating from the 2nd century BCE to about 480 CE in the Aurangabad district of Maharashtra state in India.[1][note 1] The caves include paintings and rock-cut sculptures described as among the finest surviving examples of ancient Indian art, particularly expressive paintings that present emotions through gesture, pose and form.[3][4][5]

Ajanta Caves UNESCO World Heritage Site

They are universally regarded as masterpieces of Buddhist religious art. The caves were built in two phases, the first starting around the 2nd century BCE and the second occurring from 400 to 650 CE, according to older accounts, or in a brief period of 460–480 CE according to later scholarship.[6] The site is a protected monument in the care of the Archaeological Survey of India,[7] and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site. The Ajanta Caves constitute ancient monasteries and worship-halls of different Buddhist traditions carved into a 75-metre (246 ft) wall of rock.[8][9] The caves also present paintings depicting the past lives [10]and rebirths of the Buddha, pictorial tales from Aryasura's Jatakamala, and rock-cut sculptures of Buddhist deities.[8][11][12] Textual records suggest that these caves served as a monsoon retreat for monks, as well as a resting site for merchants and pilgrims in ancient India.[8] While vivid colours and mural wall-painting were abundant in Indian history as evidenced by historical records, Caves 16, 17, 1 and 2 of Ajanta form the largest corpus of surviving ancient Indian wall-painting.[13] The Ajanta Caves are mentioned in the memoirs of several medievalera Chinese Buddhist travellers to India and by a Mughal-era official of Akbar era in the early 17th century.[14] They were covered by jungle until accidentally "discovered" and brought to Western attention in 1819 by a colonial British officer Captain John Smith on a tiger-hunting party.[15] The caves are in the rocky northern wall of the U-shaped gorge of the river Waghur,[16] in the Deccan plateau.[17][18] Within the gorge are a number of waterfalls, audible from outside the caves when the river is high.[19] With the Ellora Caves, Ajanta is one of the major tourist attractions of Maharashtra. It is about 6 kilometres (3.7 miles) from Fardapur, 59 kilometres (37 miles) from the city of Jalgaon, Maharashtra, India, 104 kilometres (65 miles) from the city of Aurangabad, and 350 kilometres (220 miles) east-northeast of Mumbai.[8][20] Ajanta is 100 kilometres (62 miles) from the Ellora Caves, which contain Hindu, Jain and Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta style is also found in the Ellora Caves and other sites such as the Elephanta Caves, Aurangabad Caves, Shivleni Caves and the cave temples of Karnataka.[21]

https://en.wikipedia.org/wiki/Ajanta Caves

The Ajanta Caves Location

Aurangabad District, Maharashtra State, India

Criteria

Cultural: i, ii, iii, vi

Reference

242 (http://whc.unesco.org/en/lis t/242)

Inscription

1983 (7th session)

Area

8,242 ha

Buffer zone

78,676 ha

Coordinates 20°33′12″N 75°42′01″E

Location of Ajanta Caves in India Show map of India Show map of Maharashtra Show all

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Contents History Caves of the first (Satavahana) period Caves of the later, or Vākāṭaka, period Re-discovery Sites and monasteries Sites Monasteries Worship halls Paintings

Cave 19, Ajanta, a 5th-century chaitya hall

Spink's chronology and cave history Hindu and Buddhist sponsorship Individual caves Cave 1 Cave 2 Cave 3 Cave 4 Cave 5 Cave 6 Cave 7 Cave 8 Cave 9 Cave 10 Caves 11 Caves 12 Cave 13, 14, 15, 15A Cave 16 Cave 17 Cave 18 Cave 19 (5th century CE) Cave 20 Caves 21, 22, 23, 24 and 25 Cave 26 (5th century CE) Caves 27, 28 and 29 Cave 30 Other infrastructure Recent excavations

Panoramic view of Ajanta Caves from the nearby hill

Copies of the paintings Significance Natives, society and culture in the arts at Ajanta Foreigners in the paintings of Ajanta Impact on later painting and other arts See also Notes References Bibliography https://en.wikipedia.org/wiki/Ajanta Caves

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External links

History The Ajanta Caves are generally agreed to have been made in two distinct phases, the first during the 2nd century BCE to 1st century CE, and a second several centuries later.[22][23][24] The caves consist of 36 identifiable foundations,[8] some of them discovered after the original numbering of the caves from 1 through 29. The lateridentified caves have been suffixed with the letters of the alphabet, such as 15A, identified between originally numbered caves 15 and 16.[25] The cave numbering is a convention of convenience, and does not reflect the chronological order of their construction.[26]

Caves of the first (Satavahana) period Map of Ajanta Caves

The earliest group consists of caves 9, 10, 12, 13 and 15A. The murals in these caves depict stories from the Jatakas.[26] Later caves reflect the artistic influence of the Gupta period,[26] but there are differing opinions on which century in which the early caves were built.[27][28] According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Hindu Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region.[29][30] Other datings prefer the period of the Maurya Empire (300 BCE to 100 BCE).[31] Of these, caves 9 and 10 are stupa containing worship halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types).[25] The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead.

Cave 9, a first-period Hinayana-style chaitya worship hall with stupa but no idols

According to Spink, once the Satavahana period caves were made, the site was not further developed for a considerable period until the mid-5th century.[32] However the early caves were in use during this dormant period, and Buddhist pilgrims visited the site, according to the records left by Chinese pilgrim Faxian around 400 CE.[25]

Caves of the later, or Vākāṭaka, period The second phase of construction at the Ajanta Caves site began in the 5th century. For a long time it was though that the later caves were made over an extended period from the 4th to the 7th centuries CE,[33] but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE,[32] during the reign of Hindu Emperor Harishena of the Vākāṭaka dynasty.[34][35][36] This view has been criticised by some scholars,[37] but is now broadly accepted by most authors of general books on Indian art, for example, Huntington and Harle. The second phase is attributed to the theistic Mahāyāna,[26] or Greater Vehicle tradition of Buddhism.[38][39] Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya grihas, the rest viharas. The most elaborate caves were produced in this period, which included some refurbishing and repainting of the early caves.[40][26][41] Spink states that it is possible to establish dating for this period with a very high level of precision; a fuller accoun of his chronology is given below.[42] Although debate continues, Spink's ideas are increasingly widely accepted, a least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating "The second phase of paintings started around 5th–6th centuries A.D. and continued for the next two centuries". https://en.wikipedia.org/wiki/Ajanta Caves

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According to Spink, the construction activity at the incomplete Ajanta Caves was abandoned by wealthy patrons in about 480 CE, a few years after the death of Harishena. However, states Spink, the caves appear to have been in use for a period of time as evidenced by the wear of the pivot holes in caves constructed close to 480 CE.[43] The second phase of constructions and decorations at Ajanta corresponds to the very apogee of Classical India, or India's golden age.[44] However, at that time, the Gupta Empire was already weakening from internal political issues and from the assaults of the Hūṇas, so that the Vakatakas were actually one of the most powerful empires in India.[45] Some of the Hūṇas, the Alchon Huns of Toramana, were precisely ruling the neighbouring area of Malwa, at the doorstep of the Western Deccan, at the time the Ajanta caves were made.[46] Through their control of vast areas of northwestern India, the Huns may actually have acted as a cultural bridge between the area of Gandhara and the Western Deccan, at the time when the Ajanta or Pitalkhora caves were being decorated with some designs of Gandharan inspiration, such as Buddhas dressed in robes with abundant folds.[47]

Most of the caves of the second period were made under the rule of the Vakataka king Harishena.

According to Richard Cohen, a description of the caves by 7th-century Chinese traveler Xuanzang and scattered medieval graffiti suggest that the Ajanta Caves were known and probably in use subsequently, but without a stable or steady Buddhist community presence.[14] The Ajanta caves are mentioned in the 17th-century text Ain-i-Akbari by Abu al-Fazl, as twenty four rock-cut cave temples each with remarkable idols.[14]

Re-discovery On 28 April 1819 a British officer named John Smith, of the 28th Cavalry, while hunting tigers discovered the entrance to Cave No. 10 when a local shepherd boy guided him to the location and the door. The caves were wel known by locals already.[48] Captain Smith went to a nearby village and asked the villagers to come to the site with axes, spears, torches, and drums, to cut down the tangled jungle growth that made entering the cave difficult.[48] He then vandalised the wall by scratching his name and the date over the painting of a bodhisattva. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adul today.[49] A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822.[50] Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional and unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery. In 1848, the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rockcut sites in the Bombay Presidency, with John Wilson as president. In 1861 this became the nucleus of the new Archaeological Survey of India.[51] During the colonial era, the Ajanta site was in the territory of the princely state of the Hyderabad and not British India.[52] In the early 1920s, Mir Osman Ali Name and date inscribed by John Khan the last Nizam of Hyderabad appointed people to restore the artwork, Smith after he found Cave 10 in converted the site into a museum and built a road to bring tourists to the site 1819 for a fee. These efforts resulted in early mismanagement, states Richard Cohen, and hastened the deterioration of the site. Post-independence, the state government of Maharashtra built arrival, transport, facilities, and better site management. The modern Visitor Center has good parking facilities and public conveniences and ASI operated buses run at regular intervals from Visitor Center to the caves.[52] The Nizam's Director of Archaeology obtained the services of two experts from Italy, Professor Lorenzo Cecconi assisted by Count Orsini, to restore the paintings in the caves.[53] The Director of Archaeology for the last Nizam o Hyderabad said of the work of Cecconi and Orsini:

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The repairs to the caves and the cleaning and conservation of the frescoes have been carried out on such sound principles and in such a scientific manner that these matchless monuments have found a fresh lease of life for at least a couple of centuries.[54] Despite these efforts, later neglect led to the paintings degrading in quality once again.[54] Since 1983, Ajanta caves have been listed among the UNESCO World Heritage Sites of India. The Ajanta Caves along with the Ellora Caves, have become the most popular tourist destination in Maharashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings.[55] In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves.[56]

Sites and monasteries Sites The caves are carved out of flood basalt rock of a cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous geological period. The rock is layered horizontally, and somewhat variable in quality.[57] This variation within the rock layers required the artists to amend their carving methods and plans in places. The inhomogeneity in the rock has also led to cracks and collapses in the centuries that followed, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; as evidenced by some of the incomplete caves such as the partially-built vihara caves 21 through 24 and the abandoned incomplete cave 28.[58]

Cave 24; the Ajanta Caves were carved into a massive rock on the Deccan plateau

The sculpture artists likely worked at both excavating the rocks and making the intricate carvings of pillars, roof, and idols; further, the sculpture and painting work inside a cave were integrated parallel tasks.[59] A grand gateway to the site was carved, at the apex of the gorge's horseshoe between caves 15 and 16, as approached from the river, and it is decorated with elephants on either side and a nāga, or protective Naga (snake) deity.[60][61] Similar methods and application of artist talent is observed in other cave temples of India, such as those from Hinduism and Jainism. These include the Ellora Caves Ghototkacha Caves, Elephanta Caves, Bagh Caves, Badami Caves, Aurangabad Caves[62] and Shivleni Caves. The caves from the first period seem to have been paid for by a number of different patrons to gain merit, with several inscriptions recording the donation of particular portions of a single cave. The later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites, again for merit in Buddhist afterlife beliefs as evidenced by inscriptions such as those in Cave 17.[63] After the death of Harisena smaller donors motivated by getting merit added small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.[64]

Monasteries The majority of the caves are vihara halls with symmetrical square plans. To each vihara hall are attached smalle square dormitory cells cut into the walls.[65] A vast majority of the caves were carved in the second period, wherein a shrine or sanctuary is appended at the rear of the cave, centred on a large statue of the Buddha, along with exuberantly detailed reliefs and deities near him as well as on the pillars and walls, all carved out of the natura rock.[66] This change reflects the shift from Hinayana to Mahāyāna Buddhism. These caves are often called monasteries. https://en.wikipedia.org/wiki/Ajanta Caves

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The central square space of the interior of the viharas is defined by square columns forming a more-or-less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors.[67] The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines.[21][68] Spink places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.[69]

Cave 4: a monastery, or vihara, with its square hall surrounded by monks' cells

The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.[70]

Cave 12 plan: an Cave 1 plan, a Cave 6: a two-storey Cave 16: a early type of vihara monastery known for monastery with monastery featuring (1st century BCE) its paintings[71] "Miracle of Sravasti" two side aisles[72] without internal and "Temptation of Mara" painted[72] shrine

Worship halls

Top: Interior of Ajanta chaitya hall, Cave 26, photo by Robert Gill (c. 1868); Bottom: James Fergusson painting of Cave 19 worship hall.

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The other type of main hall architecture is the narrower rectangular plan with high arched ceiling type chaityagriha – literally, "the house of stupa". This hall is longitudinally divided into a nave and two narrower side aisles separated by a symmetrical row of pillars, with a stupa in the apse.[73][74] The stupa is surrounded by pillars and concentric walking space for circumambulation. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave. The oldest worship halls at Ajanta were built in the 2nd to 1s century BCE, the newest ones in the late 5th century CE, and the architecture of both resembles the architecture o a Christian church, but without the crossing or chapel chevette.[75] The Ajanta Caves follow the Cathedral-style architecture found in still older rock-cut cave carvings of ancient India, such as the Lomas Rishi Cave of the Ajivikas near Gaya in Bihar dated to the 3rd century BCE.[76] These chaitya-griha are called worship or praye halls.[77][78] The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the late period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs carved into the rock which reflect timber forms,[79] and the earlier two are thought to have used actual timber ribs and are now smooth the original wood presumed to have perished.[80] The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Budd...