Frommer's Review
During the 2nd century B.C., a long, curving swath of rock at a sharp hairpin bend in the Waghora River was chosen as the site for one of the most significant chapters in the creative history of Buddhism. Buddhist monks spent the next 700 years carving out prayer halls for worship (chaitya grihas) and monasteries (viharas) using little more than simple hand-held tools, natural pigments, and oil lamps and natural light reflected off bits of metal or pools of water. They decorated the caves with sculptures and magnificent murals that depict the life of the Buddha as well as everyday life.
The caves were abandoned rather abruptly after almost 9 centuries of activity and were only rediscovered in 1819 (by a British cavalryman out terrorizing wild boars). Time has taken its toll on many of the murals, and modern-day restoration projects have even contributed to the near-ruin of some of the work. Despite this, the paintings continue to enthrall, and it's hard to imagine the patience and profound sense of spiritual duty and devotion that led to the creation of this, arguably the best Buddhist site in India.
It takes some time to explore all 29 caves (which are numbered from east to west), and the sensory overload can prove exhausting; try at least to see the eight described below. It's a good idea to make your way to the last cave, then view the caves in reverse numerical order -- in this way you won't be running with the masses, and you won't have a long walk back to the exit when you're done.
Richly decorated with carved Buddha figures, Cave 26 is a chaitya hall featuring a stupa (dome-shaped shrine) on which an image of the Master seated in a pavilion appears. In the left-hand wall is a huge carved figure of the reclining Buddha -- a depiction of the Mahaparinirvana, his final salvation from the cycle of life and death. Beneath him, his disciples mourn his passing; above, celestial beings rejoice. Featuring the greatest profusion of well-preserved paintings is Cave 17, where maidens float overhead, accompanied by celestial musicians, and the doorway is adorned with Buddhas, female guardians, river goddesses, lotus petals, and scrollwork. One celebrated mural here depicts Prince Simhala's encounter with the man-eating ogresses of Ceylon, where he'd been shipwrecked.
Cave 16 has a rather lovely painting of Princess Sundari fainting upon hearing that her husband -- the Buddha's half-brother, Nanda -- has decided to become a monk. Cave 10 is thought to be the oldest Ajanta temple, dating from around the 2nd century B.C. Dating to the 1st century B.C., Cave 9 is one of the earliest chaitya grihas, and is renowned for the elegant arched windows carved into the facade that allow soft diffused light into the atmospheric prayer hall. A large stupa is found at the back of the prayer hall.
Cave 4 is incomplete, but its grandiose design makes it the largest of the Ajanta monasteries. Take a quick look, then head for Cave 2. The facade features images of Naga kings and their entourage. Inside the sanctum, a glorious mandala dominates the ceiling amid a profusion of beautiful floral designs, concentric circles, and abstract geometric designs with fantastic arrangements of flying figures, beasts, birds, flowers, and fruits. On the walls, well-preserved panels relate the birth of the Buddha.
Cave 1 is one of the finest and most popular of the viharas at Ajanta, especially renowned for the fantastic murals of two bodhisattvas (saintly beings destined to become the Buddha) that flank the doorway of the antechamber. To the right, holding a thunderbolt, is Avalokitesvara (or Vajrapani), the most significant bodhisattva in Mahayana Buddhism. To the left is bejeweled Padmapani, his eyes cast humbly downward, a water lily in his hand. Within the antechamber is a huge seated Buddha with the Wheel of Dharma (or life) beneath his throne -- his hands are in the Dharmachakra pravartana mudra, the gesture that initiates the motion of the wheel. On the wall to the right of the Buddha is an image of the dark princess being offered lotuses by another damsel.
Last but not least, for a magnificent view of the entire Ajanta site and an idea of just why this particular spot was chosen, visit the viewing platforms on the opposite side of the river; the natural beauty of this horseshoe-shaped cliff is the perfect setting for a project so singularly inspired by spiritual fervor. It may even be the ideal starting point for your exploration.
Note: You will be required to remove your shoes before entering many of the caves, so take comfortable (and cheap) footwear that slips on and off easily.
Note: This information was accurate when it was published, but can change without
notice. Please be sure to confirm all rates and details directly with the companies in question before
planning your trip.
