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History behind the Karla Caves
26 AUG
Karla Caves are one of the ancient caves in Lonavala of Maharashtra that follows the mixed Indian andBuddhists style of rock‑carved caves architecture. These caves are some of the largest rock‑cut
Buddhist shrines in India. These ancient Buddhist shrines were developed during two periods. The
ﬁrst period between 2nd century BC and 2nd century AD and second period between 5th century AD
to the 10th century.

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Hall inside the Karla Caves

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Karla Caves are very famous tourist destination because of their amazing architecture. Inscriptions andStupas in the caves depict the ancient Buddhist architecture and culture. The early Buddhist school,
Mahasamghika, is associated with these caves. Their popularity in this part of the region was wide‑
spread.

(h浥⁥ps://indiaheritagesites.ﬁles.wordpress.com/2013/08/karla‑caves.jpg)
Karla Caves by Himanshu Sarpotdar on ﬂickr.com
The main cave consists of a chaitya hall that has 37 octagonal pillars and a base of water jar. The hall
has many beautifully decorated sculptures of men, women and animals. The most important feature ofthis facade is that it is made out of teak wood. The access to the city hall is embellished with ahorseshoe‑shaped arch. There is an Ashoka pillar at the front side with a closed stone façade andTirana in between them. There are large windows carved‑out on the walls of the caves for lighting
purpose.

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Karla Caves by Himanshu Sarpotdar on ﬂickr.com
All around the cave complex, there are many chaityas and viharas. A Vihara is a place where themonks used to stay and meditate in the caves for a long period of time. Some sculptures of elephants
dressed up well with metal jewelries placed there.
25 Comments
Posted by Swati Singh on August 26, 2013 in Caves, Maharashtra Heritage Sites
Tags: Caves in India

Exploring the Elephanta Caves
16 AUG
Elephant Caves are a network of sculpted caves located on Elephanta Island and dates back to 600 AD.
This island is located on an arm of the Arabian Sea and consists of two groups of caves‑the ﬁrst is alarge group of ﬁve Hindu caves and the second one includes a smaller group of two Buddhist caves. It
is 1.5 miles in length with two hills that rise to a height of about 500 feet. It is located about 7 kms fromMumbai’s mainland shore.

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Locally known as Gharapuri, which means the city of caves, it was a worship place for Hindus. Whenthe Portuguese arrived, they named this island Elephanta because of a giant statue of an elephant at
the entrance of the caves. This statue now rests in the Bhau Daji Lad Museum in Mumbai. There weremany paintings inside the caves, but now only their traces remains. In 1987, these
Savecaves were given thestatus of a UNESCO World Heritage Site to preserve the artwork and are currently maintained by theArchaeological Survey of India.

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Through ferry or boat, one can reach there in one hour from the Gateway of India. Many visitors visit
each year to see the exquisite sculptures of the caves. The cave complex consists of shrines, courtyards,
inner cells, grand halls and porticos arranged in the elegant symmetry of Indian rock‑cut architecture,and ﬁlled with delicate stone sculptures of Hindu Gods and Goddesses.

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At the entrance to the caves, there is the famous Trimurti, the celebrated trinity of Elephanta: there’sLord Brahma (the Creator), Lord Vishnu (the preserver) and Lord Shiva (the destroyer). Unfortunately,
many of the sculptures inside the cave had been damaged by irreverent Portuguese rulers who took
potshots at Hindu Gods with their riﬂes. There are few sculptures that are still in one piece.

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These caves are divided into three main parts – the main hall, east wing shrine and the west wing
shrine. The main hall contains sculptures related to Ravana lifting Kailash, Shiva‑Parvati in Kailash,Ardhanarishvara, Trimurti, Gangadhara, Wedding of Shiva, Lord Shiva slaying Andhaka, Nataraja,
Yogishvara and Linga. The east wing shrine have Kartikeya, Matrikas, Ganesha and Dvarapala. The
west wing shrine includes Yogishvara and Nataraja.

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The types of caves and the sculptures shows that diﬀerent dynasties held their sway over this island,
namely, the Konkan‑Mauryas, Trikutakas, Chalukyas of Badami, Silaharas, Rashtrakutas, Kalyani
Chalukyas, Yadavas of Deogiri, the Muslim rulers of Ahmedabad, Marathas and then by thePortuguese.
It is thus a major tourist a浥⁥raction. For tourists, the caves open from 9 A.M. to 5 P.M. and are closed on
Monday.
13 Comments
Posted by Swati Singh on August 16, 2013 in Caves, Maharashtra Heritage Sites
Tags: Caves in India

About Ellora Caves: Having three Religions Together
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Ellora Caves, one of the heritage sites credited by UNESCO is an impressive
site of Buddhist, Hindu and Jain cave temples built between 6th and 10th
centuries A.D. near the Indian village of Ellora. These caves locally called as‘Verul Leni’. This site contains many exquisite sculptures. It is the mostvisited monument in Maharashtra state. Tourists flock in a large number
there. One can enjoy visiting these caves maximally during the monsoon
season as the nearby stream is filled with water and the local environs
become lush green.

About History

Ellora caves were carved out when the Ajanta caves were abandoned. Thesecaves were excavated from a large volcanic rock, the Charanandri hills. This
hill plateau is in the semi­circular shape. When Buddhism was declining and
Hinduism was growing, then these caves were excavated.

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The last building activity took place when the local rulers switchedconsecration from Shaivism to the Digambara sect of Jainism. Three different
structures of different religions exist together there, that shows secularism inIndia, due to this it was designated as a UNESCO World Heritage Site in
1983.

In total, there are nearly 100 caves in a hilly region out of which 34 caves arefamous and the most visited. Numerous written records indicate that thesecaves were visited regularly by rhapsodized travelers. These caves have not
only witnessed the three great religions but also illustrate the characteristics
of ancient India and the spirit of tolerance.

These breathtaking caves are worth visiting for their remarkable sculptures,
paintings, and architectures. Buddhist group was the oldest in excavation andit comprises monasteries and a large temple of Buddha, then the caves ofBrahmin group were excavated which are the best caves of the Ellora, and in
the last Jain group was excavated. These caves are decorated beautifully
and the visitors entice by its beauty greatly.

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About the Caves

Total 34 caves are there which are mostly visited by tourists. In all thesecaves, some of them belonging to Buddhism (12 Caves), Hinduism (17Caves) and Jainism (5 Caves). These are numbered chronologically, startingfrom the Oldest Buddhist Caves.

Buddhist caves are the earliest or oldest caves dating back from 500 to 750
AD. All these caves contain the sculptures of Buddha in various postures.
These caves are decorated elaborately . Hinduism caves are dated backfrom 600 AD and after that only the Jainism caves were excavated. Cavenos. 2, 5, 10 & 12 are belong to Buddhist group and Cave nos. 14, 15, 16, 21&29 belongs to the Brahmanical group and Caves 32 & 34 belong to the Jain
group, these are the most visited and famous caves. By visiting these caves,
you will have a glimpse of all the three religions together, i.e. Buddhism,
Hinduism and Jainism.

Here is the brief description of the main caves visited most by the tourists.

Cave 1 – 2 – 3 – 4 – 5

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Cave 1 is a plain monastery contains eight cells and a large hall. It has very
few sculptures and even not painted & designed elaborately.

Cave 2 is a Buddhist cave, so lots of people visit it surely. It has a central
chamber with 12 great pillars and is lined with sculptures of seated Buddha
on a lion throne. The doorway of the monastery is surrounded by a muscular
Padmapani, holding a lotus and a bejeweled Maitreya, the future Buddha,
indicates that it is the cave of Buddha.

Cave 3 and 4 are so much similar in design as that of Cave 2 but not muchdeveloped and in poor condition.
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Cave 5, also known as the Maharwada Cave as it was used by the tribal men
at that time as a shelter in monsoon. It is one of the Buddha caves. It
contains a grand hall, two rows of carved benches, and a portrait of Buddha.
Another shrine of Buddha is in the hall, in a sitting posture on a stool while
touching his right hand on the ground, as in the Earth Witness gesture.

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Cave 6 is the home of two finest structures at Ellora. On the parcheddoorway, there is goddess Tara on the left side with a fierce but kind
expression. On the right side, there is Mahamayuri, the Buddhist goddess of
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learning, seated on the peacock. An industrious student sits at his desk
below. So we can say that Mahamayuri has a very similar characteristics toher counterpart, Saraswati.

Cave 7 is a monastery that is undeveloped, pillars are broken away. On theback wall, five cells are connected and of which two cells are finished. It isvisited by less tourists.

Cave 8 consists of two halls and a shrine of Buddha. The inner hall with threecells on the north side and is cut off by pillars at each end. The shrine of
Buddha has attendants at the door and inside of it there is a seated Buddha
with his attendants. On the south wall, there is a sculpture of the Mahamayuri
similar to that of Cave 6. On the back wall, there is a seated Buddha withBodhisattva Padmapani and Vajrapani on each side of the wall.

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Cave 9 has a well carved facade and consists of outer balcony and an inner
portico having two pillars, square from below and octagonal from above.
Three Chaitya windows are there, ornamented well and each of themoccupied by a figure of Buddha and many small figures are carved on theside of the seated Buddha. On the left side of the Buddha, there is a
Padmapani with female attendants.

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Cave 10, a famous cave of the Buddha group also Known as “Vishwakarma
Cave” dates back to 700 A.D. and is known as the Carpenter’s cave becauseof its imitation in stone of wooden beams on the ceiling. It contains a chaitya
hall. At the far end of the cave, a seated Buddha is enthroned in front of alarge stone Stupa.

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Cave 11 is locally known by the people as the Doha Tal or “Two Floors” cave.
The top floor of this cave is just a long hall having columns on both the sides.
There are many sculptures of the Buddha and other goddesses. Shrine of
Buddha is located there and also the images of Ganesh and Durga areplaced there. Both images show that after the caves were abandoned by the
Buddha, this cave was converted into a Hindu temple.

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Cave 12, locally known as Tin Tal as it has three floors in it. It has animpressive upper hall which is big enough. The walls of the shrine are linedwith five Bodhisattvas and flanked by seven Buddhas. This cave is decorated
beautifully.

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Cave 13 located to the left of the Tin Taal. It has a plain room in it. Front of
the cave had been destroyed by the decay of the rock. Now it is a kind of arest house for visitors.

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Cave 14 is a Brahmanical cave, with four pillars in front and twelve inside theopen hall, all of them carved. Its long wall is adorned with magnificent carved
friezes and the entrance to the sanctuary is guarded by the river goddesses
Ganga and Yamuna. Female scriptures of Ganesh and cadaverous
goddesses of death, Kala and Kali. Many visitors come to visit this.

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Cave 15 was a Buddhist cave, later it is adopted by the Hindus. The groundfloor is not much interesting, but the top floor has lots of the best sculpturesof Ellora. On the right wall, there is a sequence of panels having ten
incarnations of Lord Vishnu and due to only this, the name of the cave is Das
Avatara. Sculptures of Shiva as Nataraja, the cosmic dancer is amazingly
depicted.

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Cave 16 is a very notable Hindu cave but not a cave at all. It is a magnificent
temple carved from a solid rock, patterned closely on the freestanding
temples of the time. It contains many sculptures of Mount Kailash, known as
the Kailash temple. It has a thick coat of white plaster that looks a snowy
mountain on which this temple is located. This temple has stupendousarchitecture, with interesting spatial effects and varied sculptures. It took 100
years to complete and covers an area double the size of the Parthenon in
Athens. Now­a­days it becomes a hub for tourists.

Cave 17 – 18 – 19 – 20 – 21

Cave 17 belongs to the Hindu caves, and carved between 600 and 870 AD.
This cave has a main emphasis on female. Many female sculptures with theirattendants are there. It occupies the center of the cave complex and attachedto the Kailash Temple from all sides. Elaborately decorated this cave isvisited by lots of tourists and pilgrims.

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Cave 18 is a plain cave, having a vestibule or antechamber with two pillars
and corresponding pilasters in front. On the pillars, the few letters of apainted inscription in Devanagari script are still visible. It has many features
to allure visitors in every manner. Late circular form of the pitha in the shrine,
and the octagonal section has been added to the midsection of the lingam.

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Cave 19 is a massive square piece holds the large linguine and is composedof a square base with a rounded top. Some part of the roof’s cave has beenreconstructed and excavated completely. The front pillars have gone now.
The dwarpalas of the cave are of good height with minimum embellishment.
Many visitors come over here to to see the ornamental quality of the cave.

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Cave 20 is divided into two sub­caves i.e. Cave 20 A and 20 B. Earlier, it has
two pillars but now they are gone. It is just a facade having columns with
Kubera on the left side of the cave. Outside the facade, on the north there isa Ganpati, and on the south there is sculpture of Mahishasuri. It has a widecircumambulatory round to see the cave more prominently. On each side of adoor is a tall dwarapala with a small female figure. Victory pillar and theremains of a pedestal for a Nandi is located on the platform outside the cave.

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Cave 21 the oldest Hindu cave at Ellora which dates back from the late 500s.
Famous as only Rameshwara among the local people not by their cave
number. It houses many fine sculptures, including a pair of river goddesses,
two door guardians and a number of loving couples around the walls of thebalcony that makes this cave very graceful. Lots of tourists visit this cave.

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Cave 22 – 23 – 24 – 25 – 26 – 27 – 28

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Cave 22 contains a few sculptures of Ganesha, the three devils, one on
crocodile and a four armed Vishnu. In the shrine, there is a pedestal and ahighly polished linga. Blue streaks appear on the linga, so it is named
Nilakanta. On the south side of the cave, there is chapel with Astamatrikas,or the eight mothers, all four armed and the eighth with three arms. Many
sculptures are worth visiting.

Cave 23 is a cave consists of a partly double verandah with five doors
entering into small cells. A small sculpture of Trimurti located on the backside of the wall. It is less visited by the visitors.

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Cave 24 contains five low cells called Teli­Ka­Gana. It has many small
sculptures. Due to the fall off a cliff, entrance of the cave had been made andhas stopped further progress as the rock was unsuitable for carving.

Cave 25 is also known as Kunbharwada. Earlier, its front part has been
supported by large columns and pilasters but now it has fallen away. An
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image has been placed on a pedestal and a recess with a shrine behind it
containing an oblong altar. Many sculptures of the Sun and god Surya withhis chariot attract lots of crowds.

Cave 26 is much similar to that of the Elephanta cave. It contains four pillars
in front, two pilasters and also on the back side, there are two pilasters. In
front of each pillar, there is a dwarf attendant. The door of the shrine is
occupied by two large dwarpalas, one with a flower, and another standing
stout. Also the shrine contains a Linga.

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Cave 27 is located on the edge of a ravine which separates it from the last
Saiva cave and over the scarp, a fine waterfall is there that is also called
Sita­Ki­Nahani. Visited mostly by tourist only due to its exquisite waterfall.

Cave 28 is located under the cliff over which the stream falls. It has manycells and a vestibule and a shrine having dwarapalas and Vaishnava at eachside of the door. Inside the cave, the front wall is equipped with an eight­
armed Devi with attendants.
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24 Comments
Posted by Swati Singh on July 31, 2013 in Caves, Maharashtra Heritage Sites
Tags: Caves in India

Move Towards the Resplendent Beauty of Ajanta Caves
19 JUL(h浥⁥ps://indiaheritagesites.wordpress.com/2013/07/19/move‑towards‑the‑resplendent‑beauty‑of‑ajanta‑caves/)

Have you ever heard of Jataka tales, Buddhist religious art and sculptures,monasteries, caves, etc? All these and many more simultaneously exist in ornear the Ajanta Caves. So, Ajanta Caves provide many a more things to thetourist. It gives you hilarious knowledge of our rich historical past.

Location

The Ajanta caves are situated at a distance of 107 km north of Aurangabad,
Maharashtra. Name of the “Ajanta Caves” comes from a nearby village
named ‘Ajanta’ located at a distance of 12 km.

History of Excavation of Caves

History of this place is very sumptuous. The Ajanta Caves were discovered in
1819 by a British Officer when he was moving forward for a hunting
expedition. He fined Buddhist monasteries over there. These monasteries
were the teaching place of Buddhism. Many monks left the caves with anelaborate architectural carving and figurative sculptures that surely tempt any
itinerant. When these caves were excavated, they are in horse­shoe shape.
They are near 76m high narrow looking stream called Waghora. It was a
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place where Buddhist monks pursuit their intellectual discourses for a long
period due to its calm and serene environment. After its instant discovery, thecaves became an important tourist destination in the world.

All the monasteries or we can say caves are connected from outside. Eachcave has its own number from 1 to 28 according to their entrance. Some of
the caves also hide by some rubble like Cave 15 A. Waterfalls around thegorge also fascinates people.

Caves of Ajanta were made in two distinct time periods. They are famous for
its sumptuous architecture, adorable sculptures and the only finest exampleof Indian art. Each cave was connected to the stream which makes it morepicturesque.

Caves

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Description of caves is necessary to know further about it. So here is thedetailed description of each cave according to their numbers.

Cave 1: Spectacular illustration of AjantaFirst cave of Ajanta was situated on the end of the horse shoe scarp. Now itis the foremost cave through which visitors move forward. It is one of thelatest caves to have been excavated; also it was one of the best sites, butnever worshipped by the dedication of the Buddha image in the central
shrine. It has attributed to 6th­7th centuries. There are fabulous motifs on the
doorway of it.

This cave has one of the most imposing carved facades, with luscious
sculptures and ridges. Most of the surfaces ornamented with decorative
carving. Many of the scenes incise from the life of the Buddha as well as anumber of embellishing motifs.

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Another shrine carved on the rear wall is to house an impressive seatedimage of the Buddha, his hands being in the dharmachakra mudra. The walls
are covered with paintings in a deliberately manner. The scenes depicted aremostly sententious, devout, and exquisite, with scenes from the Jataka
stories. Many of the scenes are of the life of the Gautam Buddha, and thoseof his veneration.

The two most famous individual painted images at Ajanta are the pictures ofthe protective Bodhisattvas Padmapani and Vajrapani on either side of theentrance to the Buddha shrine. These two images attracts towards them
most of the crowd. It seems different when seen from different angles.

Another attraction is a goddess at the upper left corner of the shrine doorway.
Her prosperous presence radiates its grace of the carving. She represents
the earth, as she leans by the flowering tree.
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Enchanting Cherubic Dwarf, bearing a garland of flowers to the great
Buddha. All those kinds of images are carved so that one can focus the
devotee’s threshold towards the central image.

No other thing is attractive than this, a four deer with a common head, one of
the beautiful wonders of this cave is an art of clever composition. Even
though, all the deer share one common head, but they seem distinct from all
the views. The bodies look real, as they have been carved from accurate
observation of their forms. Sweet pictures of lovers are also painted in thesame cave.

Many princesses have also been carved on the walls of the cave. They areheavily sprinkled over with a delicate tiara on her hair. Some of them aregroups’ scenes which are intricately painted in such a manner that shows thedancing with musicians.

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Animals of that time are also painted very well like the golden geese, pinkelephant, and bullfight. It suggests that all living things are one.

So the incarnating pictures of cave 1 are skillfully designed and they are theprettiest pictures. They reiterate the happiness. Lots of travelers attract
towards it and entangled in it.

Cave 2: Known for its Majestic Ceiling Paintings

The second cave of this Indian heritage site is another adorable excavation,
famous for its paintings, walls, ceilings and pillars. This cave is renowned for
its ceiling paintings. It seems different from cave 1.

Seated Buddha in dharmachakrapravartana mudra is enshrined in the
sanctum; also the sides of the shrines contain two Yaksha figures to the eastand Hariti to the right.

The ceiling of the cave 2 is really charming. The skill with which painters lay
down on shafts for long years, to paint these pictures is greatly admired.

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Thousands of Buddha’s paintings are painted on the walls in a very creative
manner. The rhythmic movement of the princess starting of the movement of
the swing is on the wall of the right hand corridor. The innocent faces and thebursting youth of the girl, shows the change. Physical vitality leads ultimately
to illumination.

The Jatakas paintings over here are of Vidhurapandita & Ruru. The gateway
to this shrine is the same as of the cave 1. The square motif on the side ofthe doorway seems to be derived from doorways of other temples in India.
Many motifs in Ajanta were taken from elsewhere, but adapted to the shrine
here.

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The noteworthy feature of cave 2 is the heavy limbed, but swaying
Avalokitesvara, with a flywhisk, who flanks the Buddha image. At right front of
the cave, the pilasters with squatting dwarfs in between the medallions are
enthusiastically carved. At the right of the cave, there is harati and panchika
panel.

So the cave 2 is heavily painted by the painters of that time and has been
widely published. They depict the stories of Buddha’s life in an enumerable
way. These paintings are didactic in nature, meant to inform the community
about the Buddha’s teachings and life through successive rebirths. Most of
the crowd moves toward it to get the experience of a real heritage site.

Cave 3: Incomplete Cave

Third cave of Ajanta is an incomplete cave resembles a monastery. From thattime, only a pillared verandah is excavated and after that no work has been
done until then. People attracts towards it only to see its verandah.
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Cave 4: The Largest Monastery of AjantaCave 4 is the largest monastery having a pillared verandah, sanctum
sanctorum and a grand hall. It was once painted, even the traces of that canbe noticed. Ceiling of the hall provides an illustrative impression of a lava
flow. Seated Buddha shrine is depicted there very well. Some of the large
Buddha images are unfinished. They are unfinished because at the time of
excavation their patronage was finished.

Another exciting thing about the cave is a double row of kneeling devotees by
the crouching deer. It is in a fantastic look. Actually, they are witnessing thesymbol of wheel of law. Picture of goddess at the upper left corner of theporched doorway with a flowering tree provides the amazing view to thecave. There is a flowery pilaster at left side of the interior.
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These incarnating pictures of cave 4 are skillfully designed. They reiterate thehappiness. Lots of travelers attract towards it and entangled in it.

Cave 5, 6, 7 & 8

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Cave 5 is simply like the Cave 3, means the excavation doesn’t go beyond it.
This cave is also an unfinished one. Porched doorway and female paintings
on makaras are exceptionally good ones. Travelers move towards it only to
see these female paintings.

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Cave 6 conjures everyone towards it. Buddha is seated with his feet squat inits preaching attitude. Sravasti and temptation of Mara are some of theimportant paintings. Sculptor of that time (Mahayana Phase) made a central
pillar to support the wooden prototypes in the lower storey. Bare octagonalpillars are another feature of the cave unlike the other caves as they havecapitals and bases with them. Porched doorway is not much carved. Female
figures are attached to it very nicely. Bhikshu with Lotus is another attractionof this cave. It is designed in such a manner which shows rhythms anddetermination in sculpturing.

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Cave 7 is a onetime seen cave. Its broad verandah and ceiling is painted
carefully. Carving of sculptures of Buddha is very simple.

Cave 8 once again an unfinished monastery similar to cave 3 and 5. It is theoldest of the monasteries of Ajanta, located at the lowest level. Front portionof this cave had been swept away by a major landslide.

Cave 9, 10 & 11

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Cave 9 & 10 are the two chaitya halls which was incomplete even at the endof second period of construction.

Cave 9 consists of an entrance door, two side windows, central hall, and a
stupa of worship. It has sculptures of Buddha and layers of paintings. Thesepaintings are basically of Animals and herdsmen, giant horseshoe window,
naga worshippers, etc. The paintings and 23 pillars attract the visitors mosttoward this cave.

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Cave 10 is so much similar to cave 9 in shape and size. It has the samelarge chaitya gathering hall, 39 octagonal pillars and a rock stupa of worship.
It has two period paintings mainly the Jataka stories of Sama Jataka and the
Chaddanta Jataaka and also the later period paintings contains the figures oflarge Buddha in various poses. Other things painted on the pillars and walls
are Elephants in Jungle, Princess and tusk, Buddha and one – eyed monk,
Bodhisattva, etc. All these paintings are the main feature of this cave which
entices lots of tourist towards it.

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Cave 11 contains six cells and a long bench, a pillared verandah and a
sanctum sanctorum. Little Buddha is carved on one of the walls. Paintings
available in the cave are depictions of Bodhisattvas, figure of Buddha, etc.
These paintings of Buddha are one of the earliest paintings at Ajanta.
Another main feature of this cave which attracts the crowd towards it is thetransition from the earlier Hinayana to the Mahayana Buddhist phase ofworship.

Cave 12, 13, 14 & 15

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Cave 12 is a monastery dated back to 2nd­1st century B.C. but later that
Cave 10. It is Hinayan monastery having front gate collapsed completely andtwelve cells arranged on three sides. Cells on the front are decorated withchaitya window motifs; also the wall of the monastery records the gift of thiscave by one merchant Ghanamadada.

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Cave 13 is a small monastery having an astylar hall with seven cells on threesides. These cells are provided with rock­cut beds. This structure mostprobably attracts the visitors.

Cave 14 is similar to the unfinished monasteries which I have told you about
that. It is also unfinished monastery excavated at a higher level. The figuresof sala bhanjikas on the top corners of the doorway is beautifully designedthat allures the tourists towards it.

Cave 15 consists of two parts namely cave 15 and cave 15 A. Cave 15 and
15 A is very much similar having an astylar hall with the number of cells.
Front of the cave 15 had an inscription of shell but now it has lost properly.
The halls of 15 A are relieved with chaitya motifs pattern and rising fromvedic pattern. Cave 15 also has an antechamber, sanctum Sanctorum and apillared veranda. Depictions of Buddha in various poses also show thehistorical evidences. Traces of paintings show as it was originally painted.

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Cave 16 – A Fourteen Cells Cave

Excavation of the cave 16 was done by Varahadeva in A.D. 475­500. It is amonastery consists of a central hall surrounded by 14 cells on three sides, avestibule and a sanctum for the Buddha image. Lions and other animals
support this throne of Buddha, also Boddhisattvas stand behind him. This
image of the Buddha is as similar as of the cave 6 and 11. The porcheddoorway set a pattern for the later doorway. Two goddesses of that timehttps://indiaheritagesites.wordpress.com/category/caves/

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stand straight on neatly carved pilasters. Other features of this cave that
entice the people much are the paintings depicting the miracle of Sravasti,
Maya’s dream, certain incidents from the life of Buddha, giant statue of
Buddha in the teaching posture, painting of dying princess in the shock ofhearing that her husband has become a monk. Another inscription is of the
Buddha with a begging bowl, prince Siddharth is stretching the bow, thedescent of the Buddha, etc. The Sutasama Jataka is the famous painting of
this cave narrating the story of the incarnation of the Bodhisattva and the sonof the king of Indraprastha named Sutasama. They are painted in an
elaborate manner that anyone can understand the story behind it.

Cave 17, 18, 19 & 20

Cave 17: This monastery was excavated at the reign of Vakataka kingHarishena having a spacious hall surrounded by 17 cells, a vestibule and a
sanctum containing the image of Buddha. This cave houses a huge and agigantic painting of the Wheel of Life, flying Apsara, Buddha preaches to acongregation, subjugation of Nalagiri, etc. The love of happinessdiversifies through these pictures. Others are the paintings of Jatakas
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depicted very beautifully including Chhaddanta, Mahakapi, Hasti, Hamsa,
Vessantara, Maha­Sutasoma, Saraabha Miga, Machcha, etc. Porcheddoorway of this cave is similar to cave 16. Another feature of this cave is aT­shape shrine doorway having goddesses supported by pilasters. Pillarsof this cave are arranged in a strict order and also painted. They have
intricate carvings on them. One of the famous paintings of this cave is thepainting of Indra and the Apsaras on the above of the doorway of the cave.
This cave is like a fantasy for every person.

Cave 18: This cave is rectangular when it is excavated and leads toanother cell. This Cave shows masterly arts like the painting of Shringar,
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that shows the decoration of women of her body. Another exquisite
painting of this cave is a Princess looks at the mirror after touching
shringar, one attendant holds a tray of toilet utensils and the other one
holds a fly whisk in her hand. This marvelous scene allures the crowd
towards it.

Cave 19: It is a Chaitya Griha hall with many paintings, Stupas andSculptures. One of the best Stupas is of standing image of Buddha. This
Stupa has crowned itself with an umbrella that nearly touches the roof.
Façade of this cave is very elaborate with pilasters. Another painting of thiscave is of Naga king. It is a highly finished carving. The snakes put roundtheir head which looks very auspicious shows the symbol of Naga king. So
this cave is basically famous for its scriptural grandeur.

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Cave 20: This monastery has a pillared verandah, sanctum Sanctorum, ahall, multiple cells, etc. Verandah is full of Brahmi inscription that records
the gift of Mandapa by Upendra. Many sculptures of Buddha accompanied
by attendants in various postures are placed in the sanctum.

Cave 21 – 29

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Cave 21 is a monastery having a hall with twelve pillars, twelve cells,
sanctum Sanctorum, pillared verandah, etc. The interior view of themonastery shows developed sense of the use of space. Pillars of the cave
are beautifully carved. Sculpture of Buddha is exquisitely carved in apreaching attitude. Many paintings of Buddha are there showing preaching
attitude. Another thing is a colonnade inside the Chaitya hall composed of
26 pillars. This combination forms aisles. The walls of the cave havewondrous carving. The round stupa of the cave is also decorated
beautifully. Two main sculptures that attract crowds towards this cave are
the large statue of dead Buddha and the statue of temptation of the
Buddha by the demon mara.

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Cave 22 is a monastery consists of an astylar hall having four unfinishedcells, sanctum Sanctorum and a narrow verandah. Many sculptures of
Buddha are depicted in different forms in front and back sides of the wall ofcaves.

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Cave 23 is an unfinished cave like the cave 3,10, etc. it consists of an
astylar, sanctum Sanctorum, antechamber, side cells and a pillaredverandah. It is famous for its extravagant decoration of pillars and pilasters
and the Naga doorkeepers.

Again Cave 24 is an unfinished monastery and the second largest
excavation at Ajanta after cave 4. Verandah, hall and sanctum Sanctorumis there, also a chapel is there with pillared porch which is excavated in thefirst period. The sanctum of the cave houses a seated sculpture of Buddha
in pralamba­padasana. Pilasters, interiors of the cave, cells, hall all areunfinished.

Cave 25 is a monastery having enclosed courtyard, an astylar hall, pillaredverandah, etc.. The verandah has no cells and also the hall is devoid of
the shrine.

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Cave 26: This cave is of largest dimension but much similar to cave 19. It
is elaborately designed and have more sculptures. The chaitya hallconsists of side aisles, rock cut stupa, etc. The façade consists of the inner
pillars, the triforium, aisle side walls which are exquisitely carved withdesigns and images of Buddha. Most striking feature of this cave is theimage of mahaparinirvana of Buddha on the right aisle. Various fineimages of Buddha are sculpted on Chaitya horseshoe arch with an elegant
skill. At the bottom of the hall relief, the Nagas, Nanda and Anupanada are
figured holding the stem of the lotus in their hand. Another thing is thepainting of a family group with bountiful floral decoration around it.

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Cave 27: It is a part of cave 26 and consists of two storeys in which upper
one is collapsed partially, also it has a hall with four cells, antechamber,
sanctum Sanctorum, etc. Sculpture of Buddha in teaching attitude isbeautifully carved and housed in the sanctum. The parched doorway of itis the shrine doorway of cave 2. Another attraction is aNaga Dwarapala on the outer side of the shrine. Many features of thiscave are similar to cave 20.

Cave 28 is an unfinished monastery having nothing except the pillaredverandah. No sculptures, figures and paintings excavated till now.

Cave 29 is also an unfinished monastery and located at the highest level
between caves 20 & 21. No sculptures and paintings excavated till now.

26 Comments
Posted by Swati Singh on July 19, 2013 in Caves, Maharashtra Heritage Sites
Tags: Caves in India

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