AJANTHA CAVES WITH SPECIAL REFERENCE TO CAVE NO.

16, 17 & 26

The group of caves is prescribed by the UNESCO as a WORLD HERITAGE
MONUMENT in 1983.Inscription on this list confirms the exceptional universal value of a
cultural or natural site which deserves protection for the benefit of all humanity.

The Ajanta caves are situated at a distance of 15 km from Ajanta village and 101 km in
the northern direction of the Aurangabad district Headquarter (Maharashtra) on State
Highway No.8, and 55 km from Jalgaon, the nearest Railway station, 420 and 1120 km
from Mumbai and Delhi respectively. Ajanta caves is conveniently approached by a
road from both Aurangabad and Jalgaon. There are regular bus services available up to
T-Junction and then shuttle bus services available on payment basis from T junction to
foot of the hills of the caves. Also the caves approached by walk from by view point by
walk reserve through forest.

Cave 16

Bharvak Yaksha at the entrance Sundari fainting hearing Nanda's conversion

This is the largest (19.5 X 22.25 X 4.6 m) and certainly the finest and most interesting
monastery of Ajanta from the perspective of art and architecture. This monastery with its
colossal hall, ornate doors and windows, beautifully painted galleries, sculptures,
ornamented pillars, cistern was the gift of Varahadeva a minister of Vakataka King
Harisena (475-500 A.D.)A central hall is surrounded by 14 cells on three sides, and
sanctum housing Buddha image is shown seated in pralambapadasana or English chair
posture. The sanctum of this cave is devoid of doorway and antarala. Originally the
entire cave was beautifully painted but now very little of the painting now remain.
Several interesting scenes from the life of Buddha such as the infant Siddhartha at
school- drawing the bow, miracle of Sravasti; and other Jataka stories are depicted
e.g. Hasti, Maha-ummagga, Maha-sutasoma. A life scene conversion of Nanda wherein
the figure of his fainting wife is the best specimen of painted art.

Cave 16, dedicated by a minister of the Vakataka emperor, has its own grand entrance
from the river still extant. From between two elephants, the great Naga of the Waghora
River presides over the valley. Most of the left-hand side elephants have survived, with
some restoration in concrete. The visitor walks between the two elephants to the feet of
the Naga king, then up again to the cave porch. Thus, in a sense we pay our respects to
the presiding deity before reaching the Buddha's abode. The Cave 16 porch is much
damaged. This ceiling fragment hints at the richness it once possessed. The interior
paintings are better preserved, and impressive. The inscription of the Varahadeva,
minister of emperor Harisena, is preserved inside.

Cave 17


Buddha with Rahul & Yashodhara Lavishly painted verandah

This beautifully painted monastery (34.5 X 25.63 m) was donated by a feudatory prince
Upendragupta under Vakataka king Harishena as recoded in a Brahmi inscription found
here. The hall supported by twenty octagonal pillars is pierced with three doors and two
windows. The image of Buddha in the sanctum is shown in preaching attitude. Beside
the two cells in the verandah this cave contains sixteen cells and a fine cistern of water.
The cave houses some of the most beautiful and well preserved paintings of the
Vakataka age that includes a huge and gigantic wheel representing the Wheel of Life,
flying group of Celestials (Gandharvas and apsaras) (to left of door), a damsel wearing
beautiful headgear, story of subjugation of Nalagiri (a wild elephant) by Buddha and
Buddha preaching to a congregation all depicted in veranda. The Jatakas depicted
inside the cave are Chhaddanta, Mahakapi, Hasti, Hamsa, Vessantara, Maha-
Sutasoma, Sarabha-miga, Machchha, Matruposaka, Sama, Mahisa, Valahass, Sibi,
Ruru, Nigrodhamiga and Simhalavadana. Buddha offering his begging bowl to his
son Rahula is depicted to the right of the sanctum. A damsel adorning her own beauty
in the mirror, depicted on one of the pilasters here remains a classic example of
feminine beauty immortalized in Indian art.

Cave 17 has some of the most magnificent paintings of Ajanta. The porch is a stream of
jataka narratives and early Buddhist themes in the graceful fifth century style. It is also
connected with a cistern, from which you can still drink today. The left end of the porch
once had a magnificent kalachakra- the Wheel of Rebirth, showing the different
possibilities of reincarnation according to your actions, and the possibilities of elevation.
The main wall is covered in Jataka narratives: including the Visvantara Jataka, where
the righteous and generous prince Visvantara gives away everything he has to help
other people. Hree, it is clear that two painters worked on the door, because the paint
on the left has oxidized. Painters would have made their own paints, and each painter
had his own way of creating the different colors required. Many of the paints are from
minerals which oxidize; therefore Ajanta painting may have looked very different when it
was completed, than as wesee it today. The ceiling of the Cave 17 porch is very
elaborate, and beautifully executed. Through it we may imagine some of the other porch
ceilings are that lost or direly damaged.

Cave 26


Mahaparinirvana Interior of chaityagriha

This chaityagriha is quite similar to Cave 19, but of a larger dimension (25.34 X 11.52
m) and more elaborately and exquisitely provided with sculpted figures and other
designs. An inscription (A.D. 450 525) found on the wall of the front verandah records
the gift of this chaityagriha by a monk Buddhabhadra, a friend of Bhavviraja, a minister
of the king of Asmaka. The chaityagriha consists of a hall, side aisles and a rock-cut
stupa along with an image of Buddha on front. The faade, the inner pillars, the triforium
(between pillars and roof arch), aisles sidewalls are extensively carved with images and
decorative designs. However, the most striking and prominent image is that of
Mahaparinirvana of Buddha on the right aisle wall and the assault of Mara during
Buddhas penance adorns the same wall.

Cave 26 is actually a complex of caves - a large chaitya hall and two side viharas (Cave
26L and Cave 26R). According to the inscription, these caves were donated by a monk
named Buddhabhadra. The entire Buddhas of Cave 26 is covered in Buddhas and
related images, many of which were probably added
after Buddhabhadra's involvement with the cave. The
Cave 26 complex had a large courtyard, connecting the
right and left wings to the main cave. The door is in late
Gupta style, with a T-shape, and the river goddesses in
the corners not supported by the pilasters. This
indicates that Cave 26 was one of the latest caves to be
excavated at the site. The Laksmi-Hariti image over the
door of the porch cell suggests origins in Gandhara,
though the style is clearly Vakataka: smooth, massive
volumes. The interior is also elaborately carved, with a
frieze of Buddhas and attendants running along the
corbel, and the "beams" carved and painted. The
ambulatory ceiling was painted with an elaborate lotus
lake motif, seen in many of the caves at Ajanta. Here,
several geese sport amid lotus buds. The blue pigment
used for this scene was made from lapis, and would
have been very expensive. The walls of the ambulatory
are carved with scenes of the Buddha's life and
miracles, including the Temptation by Mara, and the
famous colossal Parinirvana, with disciples mourning the Buddha on his deathbed.


Atul Bhosekar
M.A - II (Buddhist Studies)