Historical Geography of Ancient India c7.8

c7.8

Ajantā.—The two caves of Ajantā are situated 60 miles north-west of Aurangabad and about 35 miles south of Bhusaval on the main railway. The caves of Ajantā are approached from Phardapur, a small town at the foot of the Ghāṭ. There is a good motorable road from Aurangabad to Phardapur. The 29 caves at Ajantā have been cut, carved and painted at different times. According to V. A. Smith, the bulk of the paintings at Ajantā must be assigned to the 6th century A.D. The resulting political conditions must have been unfavourable to the execution of costly work of art dedicated to the service of Buddhism. Caitya and Vihāra caves are the two types of caves found at Ajantā. The caves Nos. 9 and 10, which are the earliest, date back to the 1st and 2nd century B.C. The huge images of the Buddha found in the inner cells of the Vihāras are almost in the preaching attitude. The frescoes and paintings at Ajantā are the most important features of Buddhist architecture. Decorative painting and ceiling decorations are the earliest specimens of ancient Indian fine arts. The Jātaka scenes are well depicted in these caves. In the cave No. 26 the most notable sculpture on the walls is the large and crowded composition representing the temptation of the Buddha by Māra. The wheel of life, flying Gandharvas and Apsarās can be found here. The caves present a vivid picture of the feelings and aspirations of the Buddhists during the period to which they belong. Figures of birds, monkeys, wild tribes, etc., are all depicted in these caves. Rivers, seas, rocky shores, fishes, etc., have a very high artistic value. The majestic figure of the Buddha on the wall on the left of the corridor at the back has attracted universal appreciation. Palaces and buildings are represented by a flat roof over the heads of the figures supported by slender pillars. Men of higher rank wear little clothing above the waist, but much jewellery, armlets, necklaces, fillets, etc., and men of lower rank are more covered but they have no jewellery. Monks are clothed in their usual dress. Ladies of distinction wear much jewellery. In the cave No. 10, the paintings between the ribs of the aisles are of much later date. The cave No. 16 is one of the Vihāras of great importance. In the cave No. 20 the flight of steps with a carved balustrade leading to a verandah and the pillars with capitals of elegantly sculptured strut figures of girls, the threshold of the shrines recalling the ancient toraṇa, serve as aids to understand the evolution of domestic and socio-religio architecture of India. The portico in front of the shrine is similar to a pavilion (maṇḍapa). The group of worshippers in the cave No. 1 is really very artistic. Soldiers are armed with spears, bows, etc. A high turban with a knob in front is worn by males. A broad heavy neck-chain is prominent. All these remind us of the style of early sculptures of Sāñchī and of the oldest sculpture discovered at Mathurā.