The Ajanta Caves (75°40’ N; 20°30’ E) are situated at a distance of 107 km north of Aurangabad, the district headquarters. The caves derive their name from the nearby village of Ajanta, located about 12 km away. These caves were discovered by an Army Officer of the Madras Regiment of the British Army in 1819 during one of his hunting expeditions. The discovery soon became widely known, and Ajanta emerged as one of the world's most important tourist destinations. The caves, famous for their murals, are among the finest surviving examples of Indian art, particularly painting.

These caves are excavated in a horseshoe-shaped bend of a rock surface nearly 76 m high, overlooking a narrow stream known as the Waghora. The location of this valley provided a calm and serene environment for the Buddhist monks who retreated to these secluded places during the rainy season. This retreat also gave them sufficient time to pursue their religious practices through intellectual discourses over a considerably long period. The caves were excavated during different periods (circa 2nd century B.C. to 6th century A.D.) according to necessity. Each cave was connected to the stream by a flight of steps, which are now almost obliterated, although traces of some can still be seen at a few places.

Excavation and Architecture

In all, a total of 30 excavations were hewn out of the rock, including one unfinished cave. Out of these, five (Caves 9, 10, 19, 26, and 29) are Chaityagrihas, and the remaining are Viharas. Based on their date and style, these caves can be divided into two broad groups. The earliest excavations belong to the Hinayana phase of Buddhism, similar examples of which can also be seen at Bhaja, Kondane, Pitalkhora, Nasik, etc. A total of six caves at Ajanta belong to this phase, namely Caves 9 and 10 (Chaityagrihas) and Caves 8, 12, 13, and 15A (Viharas). These caves date to the pre-Christian era, with Cave 10 being the earliest, dating back to the 2nd century B.C. The object of worship is a stupa, and these caves exhibit an imitation of wooden construction to such an extent that even the rafters and beams are sculpted, although they are non-functional.

Vakataka Period

The addition of new excavations began again during the period of the Vakatakas, contemporaries of the Imperial Guptas. The caves were excavated under royal patronage and by the feudatories of the Vakatakas, as illustrated by the inscriptions found within them. Varahadeva, the minister of the Vakataka king Harishena (A.D. 475–500), dedicated Cave 16 to the Buddhist Sangha, while Cave 17 was gifted by a prince, a feudatory of the same king who had subjugated Asmaka. The peak of activity at Ajanta occurred between the mid-5th century A.D. and the mid-6th century A.D.

Hieun Tsang, the famous Chinese traveller who visited India during the first half of the 7th century A.D., left a vivid and graphic description of the flourishing Buddhist establishment here, even though he did not personally visit the caves. A solitary Rashtrakuta inscription in Cave 26 indicates that it remained in use during the 8th–9th centuries A.D. The second phase differs from the earlier one with the introduction of a new layout and the central prominence of the Buddha image in both sculpture and paintings.

Paintings of Ajanta

The world-famous paintings at Ajanta also fall into two broad phases. The earliest phase is represented by fragmentary specimens in Caves 9 and 10, which date to the 2nd century B.C. The headgear and ornaments depicted in these paintings closely resemble the bas-relief sculptures of Sanchi and Bharhut.

The second phase of paintings began around the 5th–6th centuries A.D. and continued for the next two centuries. Outstanding examples of these Vakataka-period paintings can be seen in Caves 1, 2, 16, and 17. Variations in style and execution are evident, mainly due to the different artists involved. A gradual decline in execution is also noticeable in some later paintings, as reflected in the rigid, mechanical, and lifeless figures of the Buddha. The principal themes include various Jataka stories, incidents from the life of the Buddha, as well as contemporary events and social life. The ceilings are richly decorated with geometric and floral patterns.

Painting Technique

The paintings were executed after careful preparation of the rock surface. Initially, the rock surface was left with chisel marks and grooves so that the plaster layer could adhere effectively. The ground layer consisted of rough ferruginous earth mixed with rock grit or sand, vegetable fibres, paddy husk, grass, and other fibrous organic materials applied to the walls and ceilings.

A second coat of mud and ferruginous earth mixed with fine rock powder or sand, along with fine vegetable fibres, was then applied. Finally, the surface was finished with a thin coat of lime wash. Over this prepared surface, outlines were boldly drawn, and the spaces were filled with the required colours in different shades and tones to create the effect of rounded and three-dimensional forms.

The colours used included red and yellow ochre, terra verte, lime, kaolin, gypsum, lamp black, and lapis lazuli. The principal binding material was glue. The paintings at Ajanta are not frescoes, as they were executed using a binding agent. In contrast, fresco paintings are created while the lime wash is still wet, which itself acts as the binding medium.