Ajanta-Cave 1 Summary ((UNESCO-World Heritage Site)

Summary of Ajanta caves (UNESCO-World Heritage Site)

Ajanta-Cave 1:

Most popular at Ajanta caves are the paintings in Cave 1. This cave contains the finest paintings, viharas (monasteries) and murals. This cave is also renowned for the fantastic murals of two bodhisattvas (saintly beings destined to become the Buddha) that flank the doorway of the antechamber. 

By the time work on it began, late in the 5^th century, viharas served not only to shelter and feed the monks, but also as places of worship in their own right. In common with most Mahayana viharas, the extraordinary murals lining the walls and ceilings depict from the Jatakas, tales of the birth and former lives of the Buddha. The Mahajanaka Jataka (where the Buddha took the form of an able and just ruler) covers much of the left-hand wall including Renunciation, and the scenes where he is enticed by beautiful dancing damsel. 

A veranda with cells and porches either side has three entrances leading into a pillared hall. Above the veranda are friezes depicting the sick man, old man, corpse and saint encountered the Buddha, which is shown above the left porch. The hall has 20 ornamented pillars, a feature of the late period caves. Five small monks cells lead off three sides, and in the centre of the back wall is a large shrine of the Buddha supported by Indra, the Rain god. At the entrance are the river goddesses Yamuna and Ganga and two snake-hooded guardians at the base. 

The Bodhisattva Avalokitesvara (Vajrapani) and Bodhisattva Padmapani are the most significant bodhisattvas in Mahayana Buddhism. To the right, of the doorway into the main shrine stands Avalokitesvara (or Vajrapani) holding a thunderbolt and to the left is bejewelled Padmapani, his heavy almond eyes cast humbly downward, with a lotus in his hand and a languid hip- shot tribhanga (or 3- bend) pose exudes a distant and sublime calm. Padmapani, or the “one with the lotus in his hand,” is considered to be the changed ego of the Lord Buddha; Padmapani assumed the duties of the Buddha when he disappeared. Padmapani is depicted with his wife, one of the most widely reproduced figures. Padmapani, the lotus- holding form, is surrounded by an entourage of smaller attendants, divine musicians, lovers, monkeys and a peacock. These two bodhisattvas, Bodhisattva Avalokitesvara and Bodhisattva Padmapani represent the dual aspects of Mahayana Buddhism, i.e. compassion and knowledge. Together compassion and knowledge, the basis of Mahayana Buddhism, complement one another. 

Within the antechamber shrine is a huge seated Buddha in a teaching position, with the Wheel of Dharma beneath his throne, his hands are in the Dharmachakra pravartana mudra, the gesture that initiates the motion of the wheel. Buddha in the sanctum, preaching the first sermon at Sarnath. The real focal point of cave 1, however, is the gigantic sculpted Buddha seated in the shrine room- the finest figure in Ajanta. The magnificent Buddha statue in the cave seems to wear different facial expressions. On the wall to the right side of the Buddha is an image of the dark princess being offered lotuses by another damsel. 

Ajanta Caves - UNESCO World Heritage Sites

Introduction of Ajanta Caves (UNESCO-World Heritage Site)

Among the most important monuments in India are the magnificent caves at Ajanta and Ellora, both featuring some of the world’s most exquisite rock carvings. At Ajanta and Ellora, statues and monumental structures were chipped out of solid basalt rock, where as at Ajanta, one can also see the most remarkable cave paintings which has survived over the centuries. 

The caves are now like chapters of splendid epic in visual form, recalling the life of the Buddha, and illustrating tales from Buddhist Jatakas(fables). They are cut from the volcanic lavas of the Deccan trap into a steep crescent-shaped hillside in a forested ravine of the Sahyadri Hills. After the late seventh century, the jungle took over and they lay unnoticed for centuries. These caves were only rediscovered in 1819, by a group of British tiger hunters.

The caves at Ajanta not only contain sculptures, but remarkably preserved frescoes as well. The frescoes and sculptures of Ajanta are from the heavy period after the death of Buddha when the priests felt the need to give a representational form to their teachings, of Buddha to proliferate. Thus began the process of Buddhism acquiring some of the sensuousness of Hinduism. They are secluded and were discovered by accident only in the 19^th century, which explains why the monuments escaped the depredations of invading armies. 

The miraculously preserved paintings and sculptures that decorate 30 Ajanta caves cut into the basalt rock of a beautiful crescent-shaped gorge provide the most extensive idea of early Buddhist artistic traditions in India. They are also the sources for iconography and styles found in later Central Asian and Far Eastern Buddhist Art. 

The Ajanta caves date mostly from two periods: the second and first centuries B.C., then the late fifth century A.D., when the Vakataka rulers, especially Harishena, were energetic patrons. These caves contain the most impressive sculptures, ranging from votive images to narrative tableaus with many figures and an elaborate decorative motif. 

Ajanta caves also have India’s only extensive series of Buddhist paintings of such virtuosity, quality, and wide range of subjects. The masterpieces retell the life story of the Buddha and reveal the life and culture of the people of the times, royal court settings, family life, street scenes and superb studies of animals and birds. The Jatakas relate the Buddha’s previous two births-showing the progress of the soul. Ajanta's excavations are adorned with a swirling profusion with murals. 

Over the period of seven centuries, the cave temples of Ajanta evolved into works of incredible art. Architectures continue to be awestruck by the sheer brilliance of the ancient builders and techniques, which, undaunted by the limitations of their tools, materials, and skills, created a marvel of artistic and architectural splendour. In all, 30 caves were carved, 15 of which were left unfinished; some of them were viharas (monasteries) complete with stone pillows carved onto the monks’ stone beds and others were chaityas (Buddhist cathedrals). All the caves with intricate sculptures and murals depict the many incarnations of Buddha. 

The first to be excavated was Cave 10, followed by the first Hinayana caves (in which the Buddha is not depicted in human form), on either side. Later Mahayana caves were discovered, completing the spectrum of Buddhist development in India. 

Time has taken its toll on many of the murals, and modern- day restoration projects have even contributed to the near- ruin of some of the work. Despite this, the paintings continue to enthral, and it’s hard to imagine the patience and profound sense of spiritual duty and devotion that led to the creation of this, arguably the best Buddha site in India, the voluptuousness of much of the imagery. 

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