Indian Art: A History of Indian Art from the Earliest Times up to the Third Century A.D. c13.s1.t5: Ajanta (Ajiṇṭhā)
Indian Art: A History of Indian Art from the Earliest Times up to the Third Century A.D. c13.s1.t5
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Ajanta (Ajiṇṭhā)
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The rock excavations at Ajanta are the most famous of all the caves and represent a great movement in architecture, sculpture and painting extending from 2nd century B. C. to 7th century A. D., and comprising within their fold both the Hīnayāna and the Mahāyāna phases. The 29 caves there are only four Chaitya halls and the rest are Vihāras. The Chaitya hall in cave 10 is the oldest excavation at Ajanta which may be assigded to the 2nd century B. C. It is 96' 6" in depth by 41' 3" in width internally and 36' in height. The nave (maṇḍapa) is separated from (pradakṣiṇāpatha) by a range of 59 plain octagonal shafts, very slightly inclined inwards but without capitals or bases. The ribs in the apse portion radiate from the pillars. The vault of the nave was adorned with wooden ribs, the mortices for which are still there and their marks can still be traced in the roof but the wood itself is gone. The architectural execution indicates great mastery and boldness on the part of those who excavated the Chaitya hall in the bowels of the mountain and finished it to all the ornamental details with the utmost care. The Stūpa in the apse is of an elaborate nature with the circular base in two tiers and the dome also elongated indicating a step further in the development of its shape. [Fig. 121]. Chaitya hall No. 9 is smaller than No. 10 and has a façade in which no wooden attachments are found. It has in its mukhapaṭṭa or façade a doorway in the centre and a window on either side, each opening being protected by a projecting cornice altogether making a shallow portico. Above this is the Saṅgīta Śālā, the minstrels' gallery or the music hall and over it the most remarkable portion of the Chaitya hall excavation which is known as Kīrtimukha or the broad and lofty Chaitya window (12' in height) opening to admit light and air into the interior of the Chaitya Maṇḍapa. [Fig. 122].
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The spaces on the screen are carved with Vedikā design which are so realistically depicted on the façades at Bhājā, Koṇḍāne, Nasik, etc. The plan of the maṇḍapa is rectangular and the ceiling of the pradakṣiṇāpatha on the two sides is flat and its pillars are perpendicular. Originally the vaulted roof was superficially supported on wooden ribs which did not serve any architectural function and so were removed. Both these Chaitya halls were profusely painted in the early style of the Śuṅga period and do not show any sculpture in the interior. Wherever there are figures of the Buddha and the Bodhisattvas, they are all of a later date when the caves were renovated.
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Cave Nos. 12, 13 and 8 at Ajanta are Vihāras of which 12 was the oldest being attached to Chaitya shrine No. 10, and No. 13 was added later to accommodate the growing population of the monks. No. 11 is a Mahāyāna Vihāra being added much later. The establishment must have expanded even further for which Chaitya No. 9 and Vihāra No. 8 were provided in the Hīnayāna phase. Vihāra No. 12 is single-storeyed with its façade now gone. The Central hall (38' × 38') is square which served as the reception room (Upasthāna Śālā) for the monks. It had no pillars for the internal support of the roof. Round the central hall is a horse-shoe arcading forming a beautiful frieze carried all round. The stone carvers have given remarkable proof of their refined art cutting with utmost precision all the details of ornamentation and decorative motifs.
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There are four cells, on each of the inner sides and within 11 double beds and raised pillows to sleep on, are cut in stone. The cell-doors seem to have been provided with wooden shutters for which holes for pivot-hinges in the sills and lintels may still be seen. It was likely a big dormitory in which the monks assured themselves against wild animals.
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Vihāra 13 seems to have started as the residence of a single monk but later on expanded in to a hall with polished walls but without pillars (14' × 17' × 7'). It had seven cells with stone beds as in cave 12.
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Cave 8 seems to have been a natural cavern but enlarged by excavation to 32' × 17' × 10'. There are 2 cells at each end and 2 on each side of the ante-chamber leading to the shrine. There is a low door leading to the dark ante-chamber in which there is no image of any kind, with only a low stone-bench at the back.
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The group of the 5 caves in the Ajanta cliff forms the nucleus from which the other caves radiate south-east (8) and south-west (14) which belonged to Mahāyāna phase. Amongst them 16 & 17 are Vihāras and 1 & 2 are Chaitya halls with the paintings and sculptures of the most magnificent character.