Famous Temples in India

Architecture

All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was and remains a common element of Buddhist worship (pradakshina). The latter two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement, where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall. View into the sanctuary of cave 1 from the central hall. TheBuddha in the shrine room is seen through the aisle and vestibule. The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborately carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in Cave 1.

These caves are excavated in the horseshoe-shaped bend of rock surface nearly 76m in height overlooking a narrow stream known as Waghora. The ceiling decoration invariably consists of decorative patterns, geometrical as well as floral. The paintings were executed after elaborate preparation of the rock surface initially. The rock surface was left with chisel marks and grooves so that the layer applied over it can be held efficiently. The ground layer consists of a rough layer of ferruginous earth mixed with rock-grit or sand, vegetable fibers, paddy husk, grass, and other fibrous material of organic origin the rough surface of walls and ceilings. A second coat of mud and ferruginous earth mixed with fine rock-powder or sand and fine fibrous vegetable material was applied over the ground surface. Then the surface was finally finished with a thin coat of limewash. Over this surface, outlines are drawn boldly, then the spaces are filled with requisite colors in different shades and tones to achieve the effect of rounded and plastic volumes. The colors and shades utilized also vary from red and yellow ochre, terra vertex, to lime, kaolin, gypsum, lamp black, and lapis lazuli. The chief binding material used here was glue. The paintings Ajanta are not frescoes as they are painted with the aid of a binding agent, whereas in fresco the paintings are executed while the limewash is still wet which, thereby acts as an intrinsic binding agent. A terracotta plaque of Mahishasuramardini, also known as Durga, was also found in a burnt-brick vihara monastery facing the caves on the right bank of the river Waghora that has been recently excavated. This suggests that the deity was possibly under worship by the artisans. According to Yuko Yokoschi and Walter Spink, the excavated artifacts of the 5th century near the site suggest that the Ajanta caves deployed a huge number of builders.

Cave 1 - This is one of the finest monasteries of its kind as no other monastery at Ajanta has been so handsomely ornamented. It is squarish (35.7 X 27.6 m) vihara, consists of an open courtyard and verandah having cells at each side, and Astylar Pt. compare with ‘Ashlar’ which is used for large dressed stone masonry hall sided by 14 cells, antechamber and sanctum sanctorum, datable to 4th –5th centuries A.D. Importantly it represents a seated Buddha in dharma chakra pravartana mudra (turning the wheel of law attitude) in the sanctum. The cave has a frontcourt with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggests that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become customary. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. Each wall of the hall inside is nearly 40 feet (12 m) long and 20 feet (6.1 m) high. Twelve pillars make a square colonnade inside supporting the ceiling and creating spacious aisles along the walls. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors. Every inch of this cave was originally painted even the pillars and the sculptured being no exception. Unfortunately much of the painting has peeled off, but from the surviving patches one can easily imagine its pristine grandeur.

The cave contains some of the masterpieces of painting in the world like Padmapani and Vajrapani. Besides, it depicts Sibi, Samkhapala, Mahajanaka, Maha-ummagga, Champeyya Jatakas and the scene depicting the temptation of Mara. Two of the pillar capitals in the main hall have pillar capital shown with four bodies of deer sharing one head. Built on the eastern end of the horseshoe-shaped scarp and is now the first cave the visitor encounters. This cave, when first made, would have been a less prominent position, right at the end of the row. According to Spink, it is one of the last caves to have been excavated, when the best sites had been taken and were never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have happened if the garland-hooks around the shrine had been in use for any period. Spink states that the Vākāṭaka Emperor Harishena was the benefactor of the work and this is reflected in the emphasis on the imagery of royalty in the cave, with those Jataka tales being selected that tell of those previous lives of the Buddha in which he was royal. The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell completely and the remains, despite containing fine carvings, were carelessly thrown down the slope into the river, from where they have been lost.

Cave 2 - This monastery (35.7 X 21.6 m) is one of the best at Ajanta, consists pillared verandah having double cells at each end, pillared hall having 10 cells, antechamber, sanctum sanctorum, and two pillared sub-shrines, datable to the first half of 6th century A.D. The lavishly carved doorway, flanked by decorated windows on either side gives access to the pillared hall. While the seated Buddha in dharma chakra pravartana mudra is enshrined in the sanctum, the side sub-shrines contains two Yaksha figures (popularly known as Sankhanidhi and Padmanidhi) to the left and Hariti and her consort Pancika to the right. Extensively painted cave is famous for the ceiling paintings of the hall, antechamber, shrines chapels and verandah with side porches. The sidewalls of all are painted with countless Buddha’s in various attitudes. The Jatakas painted here are Ruru, Vidhurapandita, and Puranvadana. Among the life scenes of Budhha story of his birth and miracle of Sravasti are depicted here. The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine motifs. Major carvings include that of goddess Hariti. She is a Buddhist deity who originally was the demoness of smallpox and a child eater, who the Buddha converted into a guardian goddess of fertility, easy childbirth and one who protects babies.

Cave 3 - This is an incomplete monastery (10.08 X 8.78) and only the preliminary excavations of pillared verandah exist. The works stopped after the scooping out of a rough entrance of the hall. There is also a commencement of an understorey to this cave.

Cave 4 - This is the largest monastery (35.08 X 27.65 m) at Ajanta. The squarish monastery consists of a pillared verandah flanked by cells, a pillared hall with unfinished cells, antechamber, and sanctum sanctorum, datable to the first half of 6th century A.D. The cave has had a façade outside carved with chaitya window ornaments containing figures of Buddha. The hall is entranced by one central and two side doors and has two windows between the doors. The doorframe is exquisitely sculpted flanking to the right is carved Bodhisattva as reliever of Eight Great Perils. The ceiling of the hall preserves a unique geological feature of the lava flow. This cave has a Vihara. This is the largest vihara in the inaugural group and is placed at a significantly higher level, possibly because the artists realized that the rock quality at the lower and same level of other caves was poor and they had a better chance of a major vihara at an upper location. Another likely possibility is that the planners wanted to carve into the rock another large cistern to the left courtside for more residents, mirroring the right, a plan implied by the height of the forward cells on the left side. Cave 4 shows evidence of a dramatic collapse of its ceiling in the central hall, likely in the 6th century, something caused by the vastness of the cave and geological flaws in the rock. Later, the artists attempted to overcome this geological flaw by raising the height of the ceiling through deeper excavation of the embedded basalt lava. The cave has a squarish plan, houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above. It consists, of a verandah, a hypostylar hall, sanctum with an antechamber, and a series of unfinished cells.

Cave 5 - The monastery (10.32 X 16.8 m) is an unfinished one. Probably excavation began about 640 A.D. but never finished. However, the richly carved doorframe and female figures on makaras are worth noting.

Cave 6 - This is a double storeyed monastery (16.85 X 18.07 m) consisting of a verandah pillared hall with 16 cells, antechamber, sanctum sanctorum, a water cistern at the right end in the lower story and a hall with 18 cells and sanctum sanctorum in the upper story. Buddha in preaching attitude is housed in both the sanctums. The cave had been painted but now it (painting) has almost disappeared. The cave has a profusion of carved figures of Buddha in different attitudes on the wall of the hall, antechamber and sanctum. The depiction of Miracle of Sravasti and Temptation of Mara are the important paintings. The lower level of the Cave 6 likely was the earliest excavation in the second stage of construction. This stage marked the Mahayana theme and Vakataka renaissance period of Ajanta reconstruction that started about four centuries after the earlier Hinayana theme construction. The upper story was not envisioned in the beginning, it was added as an afterthought, likely around the time when the architects and artists abandoned further work on the geologically-flawed rock of Cave 5 immediately next to it. Both lower and upper Cave 6 show crude experimentation and construction errors. The walls and sanctum's door frame of both levels are intricately carved. These show themes such as makaras and other mythical creatures, apsaras, elephants in different stages of activity, females in waving or welcoming gesture. The upper level of Cave 6 is significant in that it shows a devotee in a kneeling posture at the Buddha's feet, an indication of devotional worship practices by the 5th century. The shrine antechamber of the cave features an unfinished sculptural group of the Six Buddhas of the Past, of which only five statues were carved. This idea may have been influenced by those in Bagh Caves of Madhya Pradesh.

Cave 7 - This monastery (15.55 X 31.25 m) consists of a sanctum sanctorum, antechamber an oblong open hall with two small porticos supported by heavy octagonal pillars with eight cells. The façade is relieved with a chaitya window filled in with a half lotus or animal head. Buddha in preaching attitude is housed inside the sanctum. The doorjambs and lintel are similarly decorated with figures of Buddha, the top corners only having female figures on Makara. The back walls of the antechamber also have several figures of Buddha. The cave was once painted all over, but nothing substantial has survived. Other sculptural panels include Miracle of Sravasti, seated Buddha under the protection of Nagamuchalinda, etc. Cave 7 has a grand facade with two porticos. The veranda has eight pillars of two types. One has an octagonal base with amalaka and lotus capital. The other lacks a distinctly shaped base, features an octagonal shaft instead with a plain capital. The veranda opens into an antechamber. On the left side in this antechamber are seated or standing sculptures such as those of 25 carved seated Buddhas in various postures and facial expressions, while on the right side are 58 seated Buddha reliefs in different postures, all placed on a lotus. These Buddhas and others on the inner walls of the antechamber are a sculptural depiction of the Miracle of Sravasti in Buddhist theology. The bottom row shows two Nagas (serpents with hoods) holding the blooming lotus stalk. The antechamber leads to the sanctum through a door frame. In this frame are carved two females standing on makaras (mythical sea creatures). Inside the sanctum is the Buddha sitting on a lion throne in a cross-legged posture, surrounded by other Bodhisattva figures, two attendants with chauris and flying apsaras above. Perhaps because of faults in the rock, Cave 7 was never taken very deep into the cliff. It consists only of the two porticos and a shrine room with antechamber, with no central hall.

Cave 8 - This is an unfinished monastery (15.24 X 24.64 m) at Ajanta, located at the lowest level and perhaps earliest among the monasteries. Major portion of the frontage has been swept away. It was probably a small monastery with a hall having two cells at each end and two at each side of the sanctum sanctorum. The latter is entered by a low door and contains only a low stone bench at the back, but no trace of an image. The whole of the front of this cave has fallen away and very little architectural remains by which its age could be determined.

Cave 9 - This cave is one of the oldest chaitya(18.24 X 18.04 m) of Ajanta belong to Hinayana faith of Buddhism dated to 1st century B.C. It is rectangular on plan, but the layout of the twenty-three pillars on the plan is apsidal dividing it into a nave, an apse, and aisles. The celling of the nave is vaulted while the ceiling of aisles is flat. At the center of the apse stands a globular stupa on a high cylindrical base. This chaitya is provided with an arched façade and a doorway giving the appearance of a double-storeyed building. Above the door a row of five small false arches is carved having imitation of a wooden lattice with vedika band at the bottom. Similarly 6 false chaitya windows adorn the top portion of the main chaitya arch. The painting in this cave consist, principally figures of Buddha variously engaged, disciples, worshippers of a stupa etc. in two layers; earlier dating back to the second half of 1st century B. C. and the later in the 5th-6th century A.D. The cave has a distinct apsidal shape, nave, aisle, and an apse with an icon, architecture, and plan that reminds one of the cathedrals built in Europe many centuries later. The aisle has a row of 23 pillars. The ceiling is vaulted. The stupa is at the center of the apse, with a circumambulation path around it. The stupa sits on a high cylindrical base. On the left wall of the cave are votaries approaching the stupa, which suggests a devotional tradition. the paintings in this cave, including the intrusive standing Buddhas on the pillars, were added in the 5th century. Above the pillars and also behind the stupa are colorful paintings of the Buddha with Padmapani and Vajrapani next to him, they wear jewels and necklaces, while yogis, citizens, and Buddhist bhikshu are shown approaching the Buddha with garlands and offerings, with men wearing dhoti and turbans wrapped around their heads. On the walls are friezes of Jataka tales, but likely from the Hinayana phase of early construction. Some of the panels and reliefs inside as well as outside Cave 10 do not make narrative sense but are related to Buddhist legends. This lack of narrative flow maybe because these were added by different monks and official donors in the 5th century wherever empty space was available. This devotional and the worship hall character of this cave is the likely reason why four additional shrinelets 9A, 9B, 9C and 9D were added between Cave 9 and 10.

Cave 10 - This cave is the earliest chaityagriha at Ajanta. A Brahmi inscription on the façade dated to the 2nd century B.C. reads ‘Vasithiputa Katahadi’. The chaityagriha (30.5 X 12.2 m) is an apsidal on plan consists of a large central hall, nave flanked by two aisles separated by a row of 39 octagonal pillars and a rock stupa at the apsidal end, the object of worship. The façade of the cave was probably at first of wood, but at a later date the lower portion of it, at least, was built of very large brick, which are now disappeared. The supreme importance of this cave lies in its preserving the early specimens of Indian painting. The cave consists of two periods of paintings, the earlier dated to 2nd century B.C and the later 4th-6th century A.D. The whole of this cave has been painted but only a few paintings were retained, which they were at one time completely adorned. Jataka stories of the earlier period, especially the Sama (Shama) Jataka and the Chhaddanta Jataka are depicted lively. The later period paintings contain Buddha figures in various poses mainly over the pillars.

Cave 11 - This monastery (19.87 X 17.35 m) datable to the beginning of the 5th century A.D. consists of a hall with six cells and a long bench, a pillared verandah with four cells, a sanctum sanctorum. Buddha in preaching attitude is housed in the sanctum against an unfinished stupa. Higher up in the left wall is hewn out a secret chamber, probably for keeping valuables. The whole cave was painted. Specially hall is painted mostly with figures of Buddha and ceiling with painted motifs including varied flora, beast, and geometric designs. The ceiling of the veranda shows evidence of floral designs and eroded reliefs. Only the center panel is discernible wherein the Buddha is seen with votaries lining up to pray before him. Inside, the cave consists of a hall with a long rock bench opening into six rooms. Similar stone benches are found in Nasik Caves. Another pillared verandah ends in a sanctum with seated Buddha against an incomplete stupa, and has four cells. The cave has a few paintings showing Bodhisattvas and the Buddha. Of these, the Padmapani, a couple gathered to pray, a pair of peafowl and a female figure painting have survived in the best condition. The sanctum of this cave may be among the last structures built at Ajanta because it features a circumambulation path around the seated Buddha.

Cave 12 - The Hinayana monastery (14.9 X 17.82 m) one of the oldest hewn and most probably belongs to 150 B.C. Its front wall has entirely disappeared. The hall is provided with four cells in each of the three inner sides. Eleven of them are with double beds having raised stone pillows. The holes in the sills and lintels for pivot hinges prove that they were originally provided with single leafed wooden doors. The walls of the hall above the cell door are ornamented with chaitya window motifs. An inscription on the back wall of the monastery records the gift of this cave by one merchant Ghanamadada. The cave is damaged with its front wall completely collapsed. Its three sides inside have twelve cells, each with two stone beds.

Cave 13 - This is a small monastery belongs to 1st century A.D. The hall (18.5 X 16.5 X 7 m) has seven cells on three sides, each provided with two stone beds, one cell has raised stone pillows as well. The cells are so narrow that it is quite likely that they only served as dormitories (layanagriha).

Cave 14 - This unfinished monastery (13.43 X 19.28 m) belongs to 640 A.D. It is located at a higher level of Cave 13. It was originally planned on a large scale. There is a very neat central door and two windows on either side. The top corner of the central doorway leading to the unfinished hall is adorned with beautifully modeled figures of Salabhanjikas with attendants.

Cave 15 - The monastery (19.62 X 15.98 m) excavated in 400 – 440 A.D., consists of a pillared verandah having cell at each end and astylar hall with eight cells, an antechamber, sanctum sanctorum. The sculptural depictions include Buddha in various postures, seated Buddha on simhasana inside the sanctum sanctorum. The traces of paintings indicate that it was originally painted. The cave consists of an eight-celled hall ending in a sanctum, an antechamber and a verandah with pillars. Cave 15 door frame has carvings of pigeons eating corn.

Cave 15A - Smallest of all the excavations at Ajanta this cave consists of a small central astylar hall with one cell on three sides. The hall is relieved with a chaitya window pattern rising from the vedica pattern. Its entrance is located just to the right of the elephant-decorated entrance to Cave 16. It is an ancient Hinayana cave with three cells opening around a minuscule central hall. The doors are decorated with a rail and arch pattern.

Cave 16 - This is the largest (19.5 X 22.25 X 4.6 m) and certainly the finest and most interesting monastery of Ajanta from the perspective of art and architecture. This monastery with its colossal hall, ornate doors and windows, beautifully painted galleries, sculptures, ornamented pillars, a cistern was the gift of Varahadeva a minister of Vakataka King Harisena (475-500 A.D.). A central hall is surrounded by 14 cells on three sides and the sanctum housing Buddha image is shown seated in Pralambapadasana or English chair posture. The sanctum of this cave is devoid of the doorway and antarala. Originally the entire cave was beautifully painted but now very little of the painting remains. Several interesting scenes from the life of Buddha such as the infant Buddha, Siddhartha at school drawing the bow, the miracle of Sravasti and other Jataka stories are depicted e.g. Hasti, Maha-ummagga, Maha-sutasoma. A life scene conversion of Nanda wherein the figure of his fainting wife is the best specimen of painted art. Spink and other scholars call it the "crucial cave" that helps trace the chronology of the second and closing stages of the entire cave complex's construction. Cave 16 is a Mahayana monastery and has the standard arrangement of a main doorway, two windows and two aisle doorways.

Cave 17 - This beautifully painted monastery (34.5 X 25.63 m) was donated by a feudatory prince Upendragupta under Vakataka king Harishena as recoded in a Brahmi inscription found here. The hall supported by twenty octagonal pillars is pierced with three doors and two windows. The image of Buddha in the sanctum is shown in a preaching attitude. Besides the two cells in the verandah this cave contains sixteen cells and a fine cistern of water. The cave houses some of the most beautiful and well-preserved paintings of the Vakataka age that includes a huge and gigantic wheel representing the ‘Wheel of Life’, flying group of Celestials (Gandharvas and apsaras) (to left of door), a damsel wearing beautiful headgear, the story of the subjugation of Nalagiri (a wild elephant) by Buddha and Buddha preaching to a congregation all depicted in the veranda. The Jatakas depicted inside the cave are Chhaddanta, Mahakapi, Hasti, Hamsa, Vessantara, Maha-Sutasoma, Sarabha-Miga, Machchha, Matruposaka, Sama, Mahisa, Valahass, Sibi, Ruru, Nigrodhamiga and Simhalavadana. Buddha offering his begging bowl to his son Rahula is depicted to the right of the sanctum. A damsel adorning her beauty in the mirror, depicted on one of the pilasters here remains a classic example of feminine beauty immortalized in Indian art. The Cave 17 monastery includes a colonnaded porch, several pillars each with a distinct style, a peristyle design for the interior hall, a shrine antechamber located deep in the cave, larger windows, and doors for more light, along with extensive integrated carvings of Indian gods and goddesses. Cave 17 has one long inscription by king Upendragupta, in which he explains that he has "expended abundant wealth" on building this vihara, bringing much satisfaction to the devotees.

Cave18 - This is porch (3.38 X 11.66 m) excavated in 5th century A.D with two pillars serves as a passage into the next cave.

Cave 19 - This chaityagriha (16.05 X 7.09 m), in an excellent state of preservation is considered as one of the most perfect specimens of the Buddhist art in India, datable to 5th century A.D. The exquisite facade of this well-proportioned chaitya-griha with its small but elegant pillared portico and projected ornate cornice is dominated by chaitya window in the facade. The interior of this cave is also equally beautiful. This cave apsidal on plan is divided into a nave, an apse and aisles by colonnade of 17 pillars. At the center of the apse stands a globular stupa also has the umbrella wholly in stones reaching almost to the roof of the cave. The roof of the aisles is flat and has been painted chiefly with ornamental flower scrolls, Buddha, a wall that has been painted of Buddha with attendants. This cave has only one entrance door. A sculptural form of Buddha offering begging bowl to his son Rahula is depicted close to entry door to the viewer’s left. In front there is a courtyard with side chapel flanked by two porch right porch, containing a sculpture representing a Nagaraja and his wife and the opposite side of this image, a porch which probably was the place of rest for pilgrims. The presence of this room before the hall suggests that the original plan included a mandala style courtyard for devotees to gather and wait, an entrance and facade to this courtyard, all of whose ruins are now lost to history. Cave 19 is one of the caves known for its sculpture. It includes Naga figures with a serpent canopy protecting the Buddha, similar to those found for spiritual icons in the ancient Jain and Hindu traditions. It includes Yaksha dvarapala (guardian) images on the side of its vatayana (arches), flying couples, sitting Buddha, standing Buddhas and evidence that its ceiling was once painted. The Cave 19 drew upon on the plan and experimentation in Cave 9. It made a major departure from the earlier Hinayana tradition, by carving a Buddha into the stupa, a decision that states Spink must have come from "the highest levels" in the 5th-century Mahayana Buddhist establishment because the king and dynasty that built this cave was from the Shaivism Hindu tradition. The entrance facade of the Cave 19 worship hall is ornate. Two round pillars with fluted floral patterns and carved garlands support a porch. Its capital is an inverted lotus connecting to an amalaka. To its left is standing Buddha in varada hasta mudra with a devotee prostrating at his feet. On right is a relief of woman with one hand holding a pitcher and other touching her chin. Above is a seated Buddha in meditating mudra. Towards the right of the entrance is the "Mother and Child" sculpture. A figure with begging bowl is the Buddha, watching him are his wife and son.

Cave 20 - A Brahmi inscription in the verandah records the gift of the mandapa by one Upendra. This monastery (16.2 X 17.91 m) belongs to 450-525 A.D. with its small portico in front of the verandah, verandah flanked by cell at each end and square hall with two cells on each site. A new feature in its plan, i.e. antechamber advancing into the hall is noted here. Buddha in preaching attitude is housed in the sanctum, was probably painted red. The doorway is elegant and in good taste and as pleasing specimens of doorway decoration. The sculpture of seven Buddha’s accompanied by attendants is another important sculptural panel in this cave. The vihara consists of a sanctum, four cells for monks and a pillared verandah with two stone cut windows for light. Before entering the main hall, on the left of the veranda are two Buddhas carved above the window and side cell. The ceiling of the main hall has remnants of painting. The sanctum Buddha is in preaching posture. The cave is known for the sculpture showing seven Buddhas with attendants on its lintel. The cave has a dedicatory Sanskrit inscription in Brahmi script in its verandah, and it calls the cave as a mandapa. Many of the figural and ornamental carvings in Cave 20 are similar to Cave 19 and to a lesser degree to those found in Cave 17. This may be because the same architects and artisans were responsible for the evolution of the three caves. The door frames in Cave 20 are quasi-structural, something unique at the Ajanta site. The decorations are also innovative in Cave 20, such as one showing the Buddha seated against two pillows and "a richly laden mango tree behind him", states Spink.

Cave 21 - This monastery (28.56 X 28.03 m) excavated during 550 - 600 A.D., consists of a pillared verandah (pillars restored now) pillared hall with 12 cells, antechamber, sanctum flanked by two cells. The sanctum house seated Buddha in a preaching attitude. Trace of paintings is noticed which consists of a panel depicting Buddha preaching a congregation. Cave 21 is a hall with twelve rock-cut rooms for monks, a sanctum, twelve pillared, and pilastered verandah. The carvings on the pilaster include those of animals and flowers. The pillars feature reliefs of apsaras, Nagaraja and Nagarani, as well as devotees bowing with the namaste mudra. The hall shows evidence that it used to be completely painted.

Cave 22 - This monastery (12.72 X 11.58 m) belongs to 550 - 600 A.D., consists of an astylar hall with four unfinished cells, sanctum sanctorum and a narrow verandah. Buddha seated in pralamba-padasana is carved on the back wall of the shrine. The sculptural depiction of Buddha in different forms, painted figures of Manushi-Buddhas with Maitreya can be noticed here. Cave 22 is a small vihara with a narrow veranda and four unfinished cells. It is excavated at a higher level and has to be reached by a flight of steps. The painted figures in Cave 22 show Manushi-Buddhas with Maitreya. A plaster on the left side of the Cave 22 veranda has a Sanskrit prose inscription.

Cave 23 - This is an unfinished monastery (28.32 X 22.52 m) consists of pillared verandah having a cell at each end, an astylar of hall with 4 cells at both the sidewall and back wall contain sanctum sanctorum, antechamber with side cells. The cave is known for the rich decoration of pillars and pilasters and the naga doorkeepers.

Cave 24 - This is an incomplete monastery (29.3 X 29.3 m) and the second-largest excavation at Ajanta belongs to 635 A.D. on the plan it consists of open courtyard and verandah flanked by double cell pillared hall with unfinished cell and sanctum sanctorum. The sanctum houses a seated Buddha in pralamba-padasana. The main cave is unfinished, remains important for understanding the technique of cave excavation. Cave 24 is like Cave 21, unfinished but much larger. It features the second largest monastery hall after Cave 4. The cave 24 monastery has been important to scholarly studies of the site because it shows how multiple crews of workers completed their objectives in parallel. The cell construction began as soon as the aisle had been excavated and while the main hall and sanctum were under construction. The construction of Cave 24 was planned in 467 CE, but likely started in 475 CE, with support from Buddhabhadra, then abruptly ended in 477 with the sponsor king Harisena's death. Cave 24 is significant in having one of the most complex capitals on a pillar at the Ajanta site, an indication of how the artists excelled and continuously improved their sophistication as they worked with the rock inside the cave. The artists carved fourteen complex miniature figures on the central panel of the right-center porch pillar while working in dim light in a cramped cave space. The medallion reliefs in Cave 24 similarly show loving couples and anthropomorphic arts, rather than flowers of earlier construction. Cave 24's sanctum has a seated Buddha in pralamba-padasana.

Cave 25 - This unfinished monastery (11.37 X 12.24 m) excavated around 640 A.D. at a higher level, consists of an astylar of hall, pillared verandah and an enclosed courtyard. Two cells are noted on the left end of the verandah and the hall has no cells. The hall is devoid of the shrine.

Cave 26 - This chaityagriha is quite similar to Cave 19, but of a larger dimension (25.34 X 11.52 m) and more elaborately and exquisitely provided with sculpted figures and other designs. An inscription (A.D. 450 - 525) found on the wall of the front verandah records the gift of this chaityagriha by a monk Buddhabhadra, a friend of Bhavviraja, a minister of the king of Asmaka. The chaityagriha consists of a hall, side aisles, and a rock-cut stupa along with an image of Buddha on front. The façade, the inner pillars, the triforium (between pillars and roof arch), aisles sidewalls are extensively carved with images and decorative designs. However, the most striking and prominent image is that of Mahaparinirvana of Buddha on the right aisle wall and the assault of Mara during Buddha’s penance adorns the same wall. The cave drew upon the experiences in building Cave 10, with attached wings similar to the ancient Cave 12 Hinayana-style vihara. The Cave 26 complex has two upper stories and it shows evidence that four wings of the cave were planned, but these were abandoned and only the carved Buddhas on the right and left wall were completed. The sculptures in Cave 26 are elaborate and more intricate. It is among the last caves excavated, and an inscription suggests the late 5th or early 6th century according to ASI. The cave consists of an apsidal hall with side aisles for circumambulation (pradikshana). This path is full of carved Buddhist legends, three depictions of the Miracle of Sravasti in the right ambulatory side of the aisle and seated Buddhas in various mudra. Many of these were added later by devotees, and therefore are intrusive to the aims of the original planners. The artwork begins on the wall of the aisle, immediately the left side of the entrance. The major artworks include the Mahaparinirvana of Buddha (reclining Buddha) on the wall, followed by the legend called the "Temptations by Mara". The temptations include the seduction by Mara's daughters who are depicted below the meditating Buddha. They are shown scantly dressed and in seductive postures, while on both the left and right side of the Buddha are armies of Mara attempting to distract him with noise and threaten him with violence. In the top right corner is the image of a dejected Mara frustrated by his failure to disturb the resolve or focus of the ascetic Buddha. At the center of the apse is a rock-cut stupa. The stupa has an image of the Buddha on its front, 18 panels on its base, 18 panels above these, a three-tiered Torana above him and apsaras are carved on the anda (hemispherical egg) stupa. On top of the dagoba is a nine-tiered harmika, a symbolism for the nine saṃsāra (Buddhism) heavens in Mahayana cosmology. The walls, pillars, brackets, and the triforium are extensively carved with Buddhist themes. Many of the wall reliefs and images in this cave were badly damaged and have been restored as a part of the site conservation efforts.

Cave 27 & 28 - This cave could have been part of Cave 26 and it consists of two stories, the upper one partially collapsed. The monastery consists of a hall with four cells, antechamber and sanctum sanctorum. Buddha in teaching attitude is housed inside the sanctum sanctorum. Cave 28 is an unfinished monastery of which only the pillared verandah was excavated is now inaccessible as it stands over vertical cliff adjoining to the Cave 27.

Cave 29 - This is an unfinished chaityagriha (22.8 X 12.84 m) in its first stage of excavation that belongs to 640 A.D., and located at the highest level between Caves 20 and 21. This cave is also inaccessible.

Cave 30 - This cave was found between Cave 15 and 16 during debris clearance. It is a small vihara with a narrow door opening into the courtyard having three cells in each wall containing. Cave 30 may be the oldest cave of the Ajanta complex. It is a 3.66 m × 3.66 m cave with three cells, each with two stone beds and stone pillows on the side of each cell. The cell door lintels show lotus and garland carvings. The cave has two inscriptions in an unknown script. It also has a platform on its veranda with a fine view of the river ravine below and the forest cover. According to Gupte and Mahajan, this cave may have been closed at some point with large carefully carved pieces as it distracted the entrance view of Cave 16.

FRONT WALL - The Sibi Jataka covers the inside of the front (entrance) wall, to the left upon entering. The Sibi Jataka tells the story of King Sibi, a prior incarnation of the Buddha, who protects a pigeon fleeing a hawk. Sibi, recognizing the hawk’s right to kill the pigeon, agrees to give the hawk an equal weight of his flesh on the condition that it spares the pigeon’s life. The pigeon, when placed on a scale, continues to increase in weight until it approaches that of the king himself. Nevertheless, King Sibi keeps his word and prepares to die for the pigeon, revealing his divine quality of fairness. Look for the crowned King Sibi standing next to the scale used to weigh the Pigeon.

THE PAINTINGS - The Ajanta Caves painting is a significant source of socio-economic information in ancient India, particularly concerning the interactions of India with foreign cultures at the time, most of the paintings were made, in the 5th century. According to Indian historian Haroon Khan Sherwani, "The paintings at Ajanta demonstrate the cosmopolitan character of Buddhism, which opened its way to men of all races, Greek, Persian, Saka, Pahlavi, Kushan, and Huna". Depictions of foreigners abound according to Spink, "Ajanta’s paintings are filled with such foreign types". They have sometimes been a source of misinterpretation as in the so-called "Persian Embassy Scene". These foreigners may reflect the Sassanian merchants, visitors and the flourishing trade routes of the day.

• Cave 1 - These paintings are in a fair state of preservation, although the full scheme was never completed. The scenes depicted are mostly didactic, devotional and ornamental, with scenes from the Jataka stories of the Buddha's former lives as a bodhisattva, the life of the Gautama Buddha and those of his generation. The two most famous individual painted images at Ajanta are the two over-life-size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle. Other significant frescos in Cave 1 include the Sibi, Sankhapala, Mahajanaka, Mahaummagga and Champeyya Jataka tales. The cave-paintings also show the Temptation of Mara, the miracle of Sravasti where the Buddha simultaneously manifests in many forms, the story of Nanda and the story of Siddhartha and Yasodhara.
• Cave 2 - They depict the Hamsa, Vidhurapandita, Ruru, Kshanti Jataka tales and the Purna Avadhana. Other frescos show the miracle of Sravasti, Ashtabhaya Avalokitesvara and the dream of Maya. Just as the stories illustrated in Cave 1 emphasize kingship, those in Cave 2 show many noble and powerful women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.
• Cave 9 -  According to Spink, the paintings in this cave, including the intrusive standing Buddhas on the pillars, were added in the 5th century. Above the pillars and also behind the stupa are colorful paintings of the Buddha with Padmapani and Vajrapani next to him, they wear jewels and necklaces, while yogis, citizens and Buddhist bhikshu are shown approaching the Buddha with garlands and offerings, with men wearing dhoti and turbans wrapped around their heads. On the walls are friezes of Jataka tales, but likely from the Hinayana phase of early construction. Some of the panels and reliefs inside as well as outside Cave 10 do not make narrative sense but are related to Buddhist legends. This lack of narrative flow maybe because these were added by different monks and official donors in the 5th century wherever empty space was available. This devotionalism and the worship hall character of this cave is the likely reason why four additional shrinelets 9A, 9B, 9C, and 9D were added between Cave 9 and 10.
• Cave 10 - The paintings include some surviving from the early period, many from an incomplete program of modernization in the second period and a very large number of smaller late intrusive images for votive purposes, around the 479–480 CE, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" program and after the best positions were used up are tucked away in less prominent positions not yet painted, the total of these was probably over 300 and the hands of many different artists are visible. The paintings are numerous and from two periods, many narrating the Jataka tales in a clockwise sequence. Both Hinayana and Mahayana stage paintings are discernable, though the former is more faded and begrimed with early centuries of Hinayana worship. Of interest here is the Saddanta Jataka tale – the fable about six tusked elephant, and the Shyama Jataka – the story about the man who dedicates his life serving his blind parents. According to Stella Kramrisch, the oldest layer of the Cave 10 paintings date from about 100 B.C.E and the principles behind their composition are analogous to those from the same era at Sanchi and Amaravati.
• Cave 16 - These paintings are numerous, Narratives include various Jataka tales such as Hasti, Mahaummagga and the Sutasoma fables. Other frescos depict the conversion of Nanda, the miracle of Sravasti, Sujata's offering, Asita's visit, the dream of Maya, the Trapusha and Bhallika story and the plowing festival. The Hasti Jataka frescos tell the story of a Bodhisattva elephant who learns of a large group of people starving, then tells them to go below a cliff where they could find food. The elephant proceeds to sacrifice himself by jumping off that cliff thereby becoming food so that the people can survive. These frescos are found immediately to the left of the entrance, in the front corridor and the narrative follows a clockwise direction. The Mahaummagga Jataka frescos are found on the left wall of the corridor, which narrates the story of a child Bodhisattva. Thereafter, in the left corridor is the legend surrounding the conversion of Nanda – the half brother of the Buddha. The story depicted is one of the two major versions of the Nanda legend in the Buddhist tradition, one where Nanda wants to lead a sensuous life with the girl he had just wed and the Buddha takes him to heaven and later hell to show the spiritual dangers of a sensual life. After the Nanda-related frescos, the cave presents Manushi Buddhas, followed by flying votaries with offerings to worship the Buddha and the Buddha seated in teaching asana and dharma chakra mudra. The right wall of the corridor shows the scenes from the life of the Buddha. These include Sujata offering food to the Buddha with a begging bowl in the white dress, Tapussa and Bhalluka next to the Buddha after they offering wheat and honey to the Buddha as a monk, the future Buddha sitting alone under a tree and the Buddha at a plowing festival. One mural shows Buddha's parents trying to dissuade him from becoming a monk. Another shows the Buddha at the palace surrounded by men in dhoti and women in sari as his behavior presents the four signs that he is likely to renounce. On this side of the corridor are also paintings that show the future Buddha as a baby with sage Asita with rishi-like looks. According to Spink, some of the Cave 16 paintings were left incomplete.
• Cave 17 - Cave 17 has thirty major murals and depicts Buddha in various forms and postures – Vipasyi, Sikhi, Visvbhu, Krakuchchanda, Kanakamuni, Kashyapa and Sakyamuni. Also depicted is Avalokitesvara, the story of Udayin and Gupta, the story of Nalagiri, the Wheel of life, a panel celebrating various ancient Indian musicians, and a panel that tells of Prince Simhala's expedition to Sri Lanka. The narrative frescos depict the various Jataka tales such as the Shaddanta, Hasti, Hamsa, Vessantara, Sutasoma, Mahakapi (in two versions), Sarabhamiga, Machchha, Matiposaka, Shyama, Mahisha, Valahassa, Sibi, Ruru and Nigrodamiga Jatakas. The depictions weave in the norms of the early 1st-millennium culture and the society. They show themes as diverse as a shipwreck, a princess applying makeup, lovers in scenes of dalliance, and a wine-drinking scene of a couple with the woman and man amorously seated. Some frescos attempt to show the key characters from various parts of a Jataka tale by co-depicting animals and attendants in the same scene.