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Maharashtra
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Cave 2 To 26 Cave 2 Cave 2 is remarkable for its painted ceiling that gives the effect of cloth canopy, right down to the slight sag in the middle. The mandala or circular diagram of the cosmos is supported by demons. The walls of the various chambers in the cave are adorned with countless Buddhas in various poses and a painted record on the rear wall of the ante-chamber tells of the donation that funded these "thousand painted Buddhas". Cave 9 One of the earliest caves, dating around the first century BC, this chaitya has a vaulted ceiling that was originally supported by wooden beams. The holes where these beams. The holes where these beams fitted can still be seen. The roof arches from a huge ribbed chaitya window. Some of the paintings recall the style of Sanchi but there are also later murals depicting the Buddha in person. Cave 10 The earliest excavation of Ajanta, this cave is dated to second century BC by an inscription, now destroyed, recording a royal donation. It has a double-storeyed stupa similar to that of Cave 9. Cave 16 One of the most beautiful viharas of Ajanta, it has a detailed inscription on the left outer wall, recording its antecedents. Varahadeva, a minister of the Vakataka king, Harisena (c AD 475-500), funded it for the specific use of the 'best of ascetics'. The record also lists its various attractions including ornamented doors, windows, pillars, statues of celestial nymphs, stairs and a shrine and mandapa. Most of the paintings have now faded. Cave 17 Apart from an elaborately- carved doorway, what makes this cave especially remarkable is the number of murals that have survived. The masterpieces include the panel above the doorway depicting the seven Manushi Buddhas (Buddhas in human form) together with the Maitreya or future Buddha, seated under their respective Bodhi trees. Directly below the row of Buddhas, is a line of eight loving or mithuna couples in varied styles of dress and coiffures. Of Apsaras and celestial beings The painted panels on the back wall of the verandah are relatively well preserved. A particularly beautiful one is of the king of gods flying amidst clouds with his entourage of celestial nymphs or apsaras and musicians. The figures of the apsaras on the right of the doorway express the consummate skill of the painters, which is apparent even in their damaged state. Most beautiful of them all is the figure of the dark- skinned apsara with her turban-like headgear. The walls of the hall inside are embellished with various Jatakas. A noteworthy mural is the one covering the entire left wall between the two pilasters, depicting the Vessantara Jataka that tells of Vessantara's generosity. Cave 19 This chaitya is noted for its well proportioned elegance. Although one of the later fifth century excavations, it sticks to the traditional plan, with two rows of pillars leading up to and encircling the stupa at the rear. The only departure from the older plan is in the image of the Buddha on the stupa. Cave 26 This chaitya is larger than Cave 19 but is similar to it in decoration and arrangement. It is rich in embellishments, with 26 pillars running to curve around a rather stylised stupa. However, the stupa itself does not draw attention as does the figure of the Buddha seated in the pralambha-pada position in front of it under a pavillion. The wall sculptures are quite detailed with the most impressive being the colossal 9-metre figure of the Parinirvana Buddha reclining on his right side between two saal trees. Below are figures of his followers mourning his passing away and above are the celestial beings. |
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