Extravaganza of Indian sculpture:

Buddhist caves of Ajantha and Ellora

Maharashtra State of India has a total population of 78,937,187 with Mumbai (Bombay) as the capital and the principal langauge Marathi, in ancient times had been an area where Buddhism flourished, since the 5th century AD.

Rohan L. Jayetilleke

The Ajantha complex is situated in a horse-shoe shaped valley of the river Wagdogra, 65 miles (105 kms) north-east of Aurangbad. The serene surroundings and it had been a pleasant location for meditative Buddhist monks from the 2nd century BC to the 6th century AD. There are around 30 caves in this Deccan plateau excavated in two phases.

Buddhist Carpenter’s Cave

In the earliest stages of Theravada Buddhism the Buddha was venerated only through symbols such as Sacred Bodhi Tree, the seat of Enlightenment at Buddha gaya (Bihar State, Gaya District), footprints of the Buddha, the wheel symbol, empty throne and stupas. The later Mahayana period saw the introduction of Buddha idols in place of the Theravada stupas. These magnificent caves were in the oblivion for thousands of years, after the decline of Buddhism in India in the 12th century. A British scholar and archaeologist John Smith discovered them in 1820, when he was in the pursuit of tigers, which were luckily escaping the attention of marauding Turks and Muslim invaders.

Striking stonewalls

These cave sculptures depict the graduation of Indian craftsmen from wood to that of stone. In several roofs the presence of wood beams indicate the use of wood as well as is the case with cave No. 19. The Vihara caves are carved out of the cliff face from front to the back and then from top to bottom. The caves are divided into the Chaityas, the prayer halls and Viharas. The Vihara paintings that decorate the stonewalls and ceilings of some caves narrate richly the daily life of the people as well as the Buddha. Although only four colours, red, blue, yellow, octave and lamp blacks were used.

The paintings depict vividly and expressively along with a stern composition. In doing the paintings the rough stonewalls of the caves were first covered with an inch of thick plaster made out of clay and cow-dung and portions of rice were also then added. Once the plaster dried, a thick layer of lime was applied. The outlines of the paintings were done in red on the wet plaster. The colours were locally produced, except blue, which was brought from elsewhere, hence it has been used very sparingly. Pools of water were made outside the cave to reflect sunlight into the darkest corners of the caves to enable the painters to carry out their tasks of paintings with sufficient light inside the dark caves.

The earlier Theravada (Hinayana) Buddhist paintings are simple by nature and mostly two-dimensional. The later Mahayana Buddhist paintings are highly stylized, where the painters have used the depth in the perspectives and covered the entire wall with Jataka stories. The Mahayanists believe that every person is a potential Buddha and the final goal is to attain Buddhahood and not Nibbana, as expounded by the Buddha. Thus the Jataka stories depict the ten perfections (paramita) a layman has to perform, to attain Buddhahood. The paintings rich in colours depict the figures with extreme exuberance and vitality to inspire the devotees to follow the Jataka stories in their life on earth.

Various painting styles

The paintings in the Cave No. 10 could be dated to a pre-Christian era. However the paintings in Caves No. 1 and 26 could be dated to several centuries, around six centuries later. The outlines of earlier period paintings are well drawn and those of the later period have been very studiously perfected with necessary ornamentations. The difference in the paintings of caves suggest that the painters had used their own techniques and styles, inborn in them giving a clear cut variation in the styles of paintings from cave to cave. These paintings depict importantly the life and times of the Buddha and Jataka stories.

The paintings are not done as individual paintings but as continuation from one to the other, like in a celluloid film. The chief personality in the paintings, is drawn in such a way, to attract the attention of the viewer to the important personality aiming the myriad of human figures. These paintings on the flat wall depict as if they are approaching the viewer, lime in modern date three-dimensional cinematography or photography or computerized pictures in animated films.

Although the Ajantha paintings are mainly based on spiritual values, they depict the lifestyle of then India, much more explicitly than in the Sanchi sculptures done by Dantakarins (ivory carvers). The Ajantha paintings depict princes in royal palaces, ladies of the harems, labourers carrying large stools on their shoulders, beggars, farmers and recluses. Further, there is also an extensive portrayal of the various species of animals and birds and flowers of India. The painters in these dark caves have painted and endowed the posterity with the lifestyle at the time. They are painted exquisitely and lyrically by the expert painters.

Lotus style

Among the breathtaking painting is that of a robust young man. This was done by the most favoured tradition of Indian painters - the Tivanka tradition. On his head is a gem studded crown, and in his right hand is a lotus flower.

knowledge or wisdom. His frame of mind depicted indicates that he is despondent and looking with compassion an objects down below. Around him are goddesses or apsaras in dancing and ghandharvas (musicoans). The chief picture that of Bodhisatva Avalokitesvara and Padmapani are in miniature form. Amid the life of sensual pleasures, we come across an intense spiritual awareness, in the presence of pictures of Bodhisatvas.

These Bodhisatvas are adorned with pearls and gems embellishing their youthful stage of life, they express a deep emotional sadness towards the suffering people.

Their eyes have seen such degradation of humanity over many millennia. The lips indicate that the Bodhisatva's express a word of warning and consolation to the viewer. The painter who did these Bodhisatva paintings has expressed his own compassion towards his fellowmen suffering from ungained wishes.

The painting of Princess Yasodhara and son Rahula, and the picture of the Buddha are entirely different. The robed personality, the Buddha gives a supramundane serenity to the viewers than by the Buddha statue of Saranath (Varanasi, Uttar Pradesh), now in the Archaeological Survey of India Saranath Site Museum, opposite Saranath. The processions depicted with elephant parades are much more advanced than those of Bhag caves. Typical paintings could be found in Bhadami and Ellora Buddhist caves too.

Ellora Caves

About 30 kms Aurangabad in Maharashtra, close to the fort of Daulatabad are the world renowned Ellora Buddhist caves. In all there are 34 caves, viharas, excavated between the 5th and 11th centuries AD. Unlikely Ajanta, which is purely and totally Buddhist, Ellora caves are a mixture of Buddhism, Hinduism and Jainism and all Indian religions. The Buddhist caves are the oldest and belong to Mahayana Buddhism. In contrast to Ajanta, Ellora paintings, paddy husks too were added to the plaster.

Once the plaster is dried, a layer of lime was applied. The stonewalls of the caves were covered with this plaster prior to the painting of pictures.

The outlines of the paintings were done in red on the wet plaster. The colours used were locally procured except, blue which was imported. Hence blue is sparingly used in very small quantities.