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Ajanta Art: An Overview

Ajanta art encompasses the various artistic forms found at Ajanta, including cave architecture, sculpture, and painting, all located in the state of Maharashtra, India.

Historical Phases of Ajanta Art

• Ajanta art was primarily created in two distinct phases:
• First Phase (100 BC – 225 CE): During this period, under the patronage of the Satavahanas, the initial Buddhist cave monuments were carved at Ajanta. These early caves date back to the 2nd and 1st centuries B.C.
• Second Phase (4th – 6th century CE): This phase occurred during the Gupta period, under the Vakatakas. During this time, many more caves were added to the original group, featuring elaborate decorations and intricate details.

Evolution of Ajanta Caves

• The first Buddhist cave monuments at Ajanta were relatively simple and date from the 2nd and 1st centuries B.C.
• In contrast, the caves added during the Gupta/Vakataka period are renowned for their rich decorations and artistic complexity, reflecting the advancements in art and architecture of the time.

Viharas (Monasteries)

The Ajanta caves, a UNESCO World Heritage site, are carved into the Sahyadri hills and overlook the Waghora River. These caves, made from basalt, were created in two main phases during the Satavahana and Vakataka periods. The caves predominantly serve as viharas, or monasteries, with a few chaityas, or prayer halls.

Viharas (Monasteries)

The majority of the caves at Ajanta are vihara halls, which are characterized by symmetrical square plans. Most of these caves were constructed during the second phase of activity at the site and represent a shift from the Hinayana sect to the Mahayana sect of Buddhism.

• Structure: The viharas typically consist of a colonnaded porch and three entrance doors leading into a central hall. The center of each vihara is square in shape, with rectangular aisles on each side. Around the central hall, there are numerous small monastic cells or square dormitories arranged along the walls, accessible through the entrance doors.
• Ajanta Cave 12: This early vihara features monk cells around the central hall. At the back of the cave, a sanctuary is constructed, housing a statue of Lord Buddha at its center. The introduction of a shrine room into the vihara during this period represents an innovation.
• Cave 4: The main shrine in Cave 4 is notable for its internal shrine, where various deities are carved on the pillars and near the large statue of Buddha.
• Cave 1: Cave 1 is one of the largest viharas and is believed to have been patronized by Harishena. The main hall is square, with aisles along all four sides, leading to fourteen small chambers. The cave features twenty painted and carved pillars, with reliefs depicting Jataka tales above the pillars. At the rear of the hall is a large shrine of the Buddha, and the famous painting of Bodhisattva Padmapani adorns one of the walls.

Transition from Hinayana to Mahayana

The viharas from the earlier period are simpler and lack shrines. In contrast, the majority of caves carved during the second period include a shrine or sanctuary at the rear, centered around a large statue of Buddha. These caves also feature intricate reliefs and deities near the Buddha, as well as on the pillars and walls, all carved out of the natural rock. This shift reflects the transition from Hinayana to Mahayana Buddhism, and these caves are often referred to as monasteries.

Chaityas (Prayer Halls)

• Chaityas, or prayer halls, are significant features within the Ajanta caves, representing a different aspect of Buddhist monastic architecture. These halls served as places of worship and communal gathering for the Buddhist monks residing in the viharas.
• Structure and Design: Chaityas are typically characterized by their long, rectangular halls with a high vaulted ceiling. The interior space is often divided into a central nave and side aisles, creating a sense of grandeur and openness. The main focal point of the chaitya is usually an intricately carved stupa, which symbolizes the Buddha's presence and serves as a focal point for worship.
• Cave 9 and 10: The chaityas from the Satavahana period, particularly Caves 9 and 10, are notable examples of early chaitya architecture. These caves feature distinctive apsidal shapes, with the stupa placed at the far end of the hall. The walls are adorned with colorful paintings depicting scenes from the life of the Buddha, adding to the spiritual ambiance of the space.
• Vakataka Period Chaityas: During the Vakataka period, chaityas became more elaborate, reflecting the evolving artistic styles and religious practices. Caves 19, 26, and 29 are prime examples of chaityas from this period, showcasing rich sculptural ornamentation both inside and outside the caves. The figures depicted in these sculptures often belong to the Mahayana pantheon, indicating the shift in religious focus during this period.
• Two-Storey Caves: While most caves are single-storey, a few chaityas, like Cave 6 and Cave 27, are two-storeyed. This architectural feature not only adds to the aesthetic appeal of the caves but also accommodates the growing number of monks and worshippers.
• Overall Significance: Chaityas play a crucial role in the Ajanta complex, showcasing the evolution of Buddhist architecture and art. They reflect the communal aspect of monastic life, where monks gathered for worship and spiritual activities. The intricate carvings and paintings within these halls provide valuable insights into the religious beliefs and artistic expressions of the time.

Chaiyta Griha (Worship Halls)

The worship halls, known as Chaiyta Griha, in Ajanta have a distinctive architectural style characterized by a narrow rectangular plan and high arched ceilings.

Key Features of Chaiyta Griha:

• Layout: The hall is divided into a central nave and two narrower side aisles by a row of pillars. This design creates a long and spacious interior.
• Stupa: At the rear, in the apse, there is a stupa surrounded by pillars. The stupa is a hemispherical structure that holds the remains of Buddhist monks and nuns. It is a central feature of the hall and is often richly decorated.
• Circumambulation Space: There is a concentric walking space around the stupa for circumambulation, allowing worshippers to walk around the stupa as a form of reverence.
• Entrances: Some caves have intricately carved entrances, with large windows above the doors to let in natural light. This not only adds to the aesthetic appeal but also enhances the spiritual ambiance inside the hall.
• Porch or Verandah: Many halls feature a colonnaded porch or verandah, providing an additional space for gathering and contemplation. Inside the doors, there is often another area running the width of the cave, adding to the overall spaciousness.

Historical Timeline:

• The oldest worship halls at Ajanta date back to the 2nd to 1st century BCE, showcasing the early architectural and artistic achievements of the period.
• The most recent halls were constructed in the late 5th century CE, reflecting the continued evolution of design and craftsmanship over the centuries.

Cave 9 and Cave 10:

• Cave 9 and Cave 10 are among the early chaityas or worship halls from the 2nd to 1st century BCE. These caves exhibit a distinct apsidal shape, characterized by a rounded end.
• Inside these caves, above the pillars and behind the stupa, there are vibrant paintings depicting the Buddha. These artworks add a rich visual dimension to the space.
• The walls are adorned with friezes illustrating Jataka tales, which are stories about the previous lives of the Buddha. However, these friezes likely date from the Hinayana phase of early construction, indicating the historical layering of artistic styles.

Cave 19:

• Cave 19 features a rectangular hall that transitions into an apse at the rear, creating a dynamic spatial experience.
• The hall is divided into a central section and two side aisles by intricately carved pillars that extend the length of the hall. These pillars frame the central image of worship, which is a stupa with a high, nearly spherical dome. Inside the dome, there is a standing Buddha carved in high relief.
• The apse at the rear is a semi-circular structure with a vault or semi-dome, adding to the grandeur of the space.
• The roof of the cave is vaulted and ribbed, showcasing advanced architectural techniques.
• The façade of the cave is elaborately carved, featuring depictions of Buddha figures, attendants, and various ornamental devices. A unique feature of the façade is the Chandrasala, a large semicircular window that adds to the visual interest of the entrance.
• The upper part of the interior is adorned with sculpted panels representing various Buddhas, contributing to the overall narrative and devotional atmosphere of the cave.

Other Sculptures:

• The cave also includes Naga figures with a serpent canopy protecting the Buddha, Yaksha dvarapala images on the sides of its arches, and various depictions of Buddhas in different postures such as sitting and standing.

Cave 26:

• Cave 26 is known for its elaborate and detailed sculptural decoration. Unlike some other caves that emphasized paintings, the builders of this cave focused on intricate sculptures.
• The cave comprises an apsidal hall with side aisles intended for circumambulation (pradikshana). The circumambulation path is filled with carved Buddhist legends and seated Buddhas in various mudras (hand gestures).
• At the center of the hall, there is a massive stupa with a seated Buddha carved in high relief. The stupa is adorned with rich ornamentation, making it a focal point of the cave.
• The walls, pillars, brackets, and triforium of the cave are extensively carved with Buddhist themes, showcasing the skill and artistry of the craftsmen.
• One of the notable features inside the cave is a 7-meter-long carving of the reclining Buddha on the left wall, representing the Parinibbana (the final passing away of the Buddha). This scene is surrounded by figures in mourning, emphasizing the emotional depth of the depiction.

Ajanta Mural Paintings

• The stunning sculptures at Ajanta are beautifully complemented by intricate murals adorning the walls, ceilings, door frames, and pillars of the caves.
• Originally, most of the caves were adorned with paintings. However, today, paintings have survived only in six caves: 1, 2, 9, 10, 16, and 17. Among these, Caves 9 and 10 are believed to date back to the 2nd or 1st century BCE, while the second phase of painting corresponds to the Vakataka period.

The technique employed for these paintings is known as fresco secco.

• A thick layer of mud mixed with vegetable material was applied to the rock surface.
• Over this, a thin coat of plaster was applied.
• Paintings were then made on this prepared surface using pigments mixed with a glue or gum medium.
• The artists likely used brushes made from animal hair.

The artists used and blended six colors:

• White: Made from lime, kaolin, and gypsum.
• Red and Yellow: Derived from ochre.
• Black: Made from soot.
• Green: From glauconite, a mineral.
• Blue: From lapis lazuli.

All these materials, except for lapis lazuli, were readily available in the vicinity of Ajanta.

Scenes Depicted in the Murals

• Apart from narrative scenes related to the Buddhas, bodhisattvas, and Jatakas (stories about the Buddha's birth, life, and death), the frescoes at Ajanta depict yakshas,gandharvas, and apsaras.
• In addition to these religious scenes, there are numerous depictions of everyday life in cities and villages.
• The artists’ profound and empathetic understanding of nature is evident in their representations of trees, flowers, and animals such as elephants, monkeys, deer, and hares.
• There is also a wide variety of decorative patterns.
• In the narrative paintings, episodes flow into and out of each other in various directions without clear separations.
• Ajanta paintings do not focus on depth; instead, they project towards the viewer.
• The artists employed the technique of foreshortening and used multiple perspectives, depicting objects as seen from eye level, above, and below simultaneously.
• The paintings strike a fine balance between the material and the spiritual. The artists effectively used shading and highlighting to give parts of their compositions a luminous quality.
• There are stylistic differences among the paintings, reflecting the contributions of different artists.

Human Figures in the Murals

• The human figures depicted in the murals are slender, well-proportioned, and elegant.
• Women are portrayed with narrow waists, full breasts, and faces characterized by highly arched eyebrows and elongated, lotiform eyes.
• The figures are adorned with a variety of sophisticated costumes, jewelry, and hairstyles.

The exquisite Ajanta murals themselves are a testament to a long tradition of mural painting in India. The cave architecture, sculptures, and paintings of Ajanta are regarded as masterpieces of Buddhist religious art and have had a significant artistic influence in later periods as well.