query: ajanta caves is made up of which rock

pos: Ajanta Caves the most popular tourist destination in Maharashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. The caves are carved out of flood basalt rock of a cliff, part of the Deccan Traps formed by successive volcanic

pos: Ajanta Caves the most popular tourist destination in Maharashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. The caves are carved out of flood basalt rock of a cliff, part of the Deccan Traps formed by successive volcanic

neg: Cave paintings in India caves and rock-cut chambers. The highest achievements of this time are the caves of Ajanta, Bagh, Sittanavasal, Armamalai Cave (Tamil Nadu), Ravan Chhaya rock shelter, Kailasanatha temple in Ellora Caves. The Frescoes of Ajanta are paintings in the Ajanta Caves which are situated near Aurangabad in Maharashtra. The caves are carved out of large rocks. Inside many of the caves are frescoes. Frescoes are paintings which are done on wet plaster in which colours become fixed as the plaster dries. The Ajanta Frescoes have a special importance of their own. They are found on the walls and ceilings at Ajanta.

neg: Ajanta Caves more likely the general style they come from, influenced painting in Tibet and Sri Lanka. The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandalal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore and Syed Thajudeen also used the Ajanta paintings for inspiration. Ajanta Caves The Ajanta Caves are 30 (approximately) rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 CE in Aurangabad district of Maharashtra state of India. The caves include paintings and rock-cut sculptures

neg: Dulari Qureshi played a major role in coercing the ASI to plan and to carry out some rock-buttressing and waterproofing works in the Ajanta Caves along with the chemical conservation of a few of its frescoes. Dr Dulari along with Dr Morwonchikar and Dr Walter Spink also pointed out the blunders made at Ajanta by conservators in the past. They opined that only those frescoes in immediate danger of crumbling should be attended to by the ASI or any other national or International body working for the conservation of Ajanta caves. She is closely associated with a number of organisations which are

neg: Ajanta Caves Ajanta Caves The Ajanta Caves are 30 (approximately) rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 CE in Aurangabad district of Maharashtra state of India. The caves include paintings and rock-cut sculptures described as among the finest surviving examples of ancient Indian art, particularly expressive paintings that present emotion through gesture, pose and form. According to UNESCO, these are masterpieces of Buddhist religious art that influenced the Indian art that followed. The caves were built in two phases, the first phase starting around the 2nd century BCE, while the second phase was built around

neg: Gavaksha in India architectural decoration is made up of small models of large buildings". At the entrance to Cave 19 at Ajanta, four horizontal zones of the decoration use repeated "chaitya arch" motifs on an otherwise plain band (two on the projecting porch, and two above). There is a head inside each arch. Early examples include Ellora Caves 10, Ajanta Caves 9 and 19 and Varaha Cave Temple at Mamallapuram. By around 650, the time of the last rock-cut chaitya hall, Cave 10 at Ellora, the window on the facade has developed considerably. The main window is smaller, and now bears

neg: Ajanta Caves 400–650 CE, according to older accounts, or in a brief period of 460–480 CE according to later scholarship. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site. The Ajanta Caves constitute ancient monasteries and worship-halls of different Buddhist traditions carved into a 250-feet wall of rock. The caves also present paintings depicting the past lives and rebirths of the Buddha, pictorial tales from Aryasura's "Jatakamala", and rock-cut sculptures of Buddhist deities. Textual records suggest that these caves served as a monsoon

neg: Ajanta Caves on a tiger-hunting party. The Ajanta Caves are located on the side of a rocky cliff that is on the north side of a U-shaped gorge on the small river Waghur, in the Deccan plateau. Further round the gorge are a number of waterfalls, which, when the river is high, are audible from outside the caves. With the Ellora Caves, Ajanta is one of the major tourist attractions of Maharashtra. It is about The Ajanta Caves are generally agreed to have been made in two distinct periods, the first belonging to the 2nd century BCE to 1st century CE, and

neg: Vakataka dynasty (Nasik district) in the west and Kuntala (Southern Maharashtra) in the south. Varahadeva, a minister of Harishena and the son of Hastibhoja, excavated the rock-cut vihara of Cave XVI of Ajanta. Three of the Buddhist caves at Ajanta, two viharas - caves XVI and XVII and a chaitya - cave XIX were excavated and decorated with painting and sculptures during the reign of Harishena. According to an art historian, Walter M. Spink, all the rock-cut monuments of Ajanta excluding caves nos. 9,10,12,13 and 15A (Ref: Page No. 4, Ajanta-A Brief History and Guide - Walter M. Spink) were built during

neg: Rock relief definition of rock reliefs because they are either fully detached statues, or are reliefs within rock-cut or natural caves, or temples entirely cut from the living rock. In the former group are many colossal Jain figures of tirthankara, and in the later Hindu and Buddhist works at the Elephanta Caves, Ajanta Caves, Ellora, the Aurangabad Caves, and most of the Group of Monuments at Mahabalipuram. Especially at Ajanta, there are many rock reliefs in the open, around the entrances to the caves, either part of the original designs or votive sculptures added later by individual patrons. However, there are a

neg: Chaitya in the nineteenth century: "Everywhere ... in India architectural decoration is made up of small models of large buildings". In Bhaja, as in other chaityas, the entrance acted as the demarcation between the sacred and the profane. The stupa inside the hall was now completely removed from the sight of anyone outside. In this context, in the first century CE, the earlier veneration of the stupa changed to the veneration of an image of Gautama Buddha. Chaityas were commonly part of a monastic complex, the vihara. The most important of rock-cut complexes are the Karla Caves, Ajanta Caves, Ellora Caves,

neg: Buddhist caves in India parallel. Later rock-cut cave architecture became more sophisticated as in the Ajanta Caves, belonging to a second, and last, wave of Buddhist cave building. The last Buddhist caves were built around the 6th century CE. The earliest caves employed by humans were natural caves used by local inhabitants for a variety of purposes, such as shrines and shelters. Evidence suggests that the caves were first occupied and slightly altered during the Palaeolithic and Mesolithic periods, up to about 6000 BC, though the changes do not really amount to architecture. Early examples included overhanging rock decorated with rock-cut designs. The Rock

neg: Tourism in Maharashtra are internationally renowned for man-made caves and intricate carvings in them. Ellora is notable for having a unique monolithic vertically excavated building known as Kailasa temple, Ellora and Ajanta Caves is notably for Lord Buddha in stone. Ancient Buddhist life has been depicted in the delicate stonework. While Ajanta is completely Buddhist caves, Ellora caves belong to Buddhism, Hinduism, and Jainism. Summers are not advisable for touring as temperatures can reach up to and above 44 degrees C during the day. There are other famous places of interest like Bibi Ka Maqbara (The Taj Mahal of Deccan), Daulatabad Fort, Panchakki,

neg: Petrosomatoglyph in India such as Aihole, Ajanta Caves, Amarnath Temple, Badami cave temples, Ellora Caves, Gavi Gangadhareshwara Temple, Hampi, Hulimavu Shiva cave temple, Mahabalipuram, Masroor Rock Cut Temple, Udaygiri Caves, Vaishno Devi, etc. Many references have been made to the obviously phallic appearance of standing stones. It is suggested that they may serve as stylised representations of the phallus, the purpose of which is to magically enhance the fertility of humans, animals and crops. A number of practices which are supposed to give fertility to barren women are linked to standing stones throughout Europe. At Avebury and West Kennet Avenue in

neg: Buddhist caves in India workmanship on Athenian buildings". This know-how seems to have disappeared again after the Maurya period, none of the later caves such as the Ajanta caves having this characteristic of polished surfaces . The very act of digging artificial caves in the rock, of which the Barabar caves represent the oldest case in India, was probably inspired by the caves dug in the rock of the Achaemenids, as is the case in Naqsh-e Rostam. These remarkable caves were conceived under the Imperial sponsorship of Ashoka and his grandson Dasaratha Maurya. The cost involved in the rock-cutting and the refined polishing work

neg: Ajanta Caves the scattered graffiti from the medieval centuries uncovered at the site suggests that the Ajanta Caves were known and probably in use, but without a stable or steady Buddhist community presence at the site. The Ajanta caves are mentioned in the 17th-century text "Ain-i-Akbari" by Abu al-Fazl, as twenty four rock-cut cave temples each with remarkable idols. On 28 April 1819, a British officer named John Smith, of the 28th Cavalry, while hunting tigers, "discovered" the entrance to Cave No. 10 when a local shepherd boy guided him to the location and the door. The caves were well known by

neg: Sithanavasal A rock-cut Jain temple named Arivar-Koil was carved here which sports paintings made during the 9th century. The most important reason to visit these caves is the paintings. The other attractions are finding out the mysteries behind the vibrating Om and how the Jain monks had lived during the 9th century. The fresco paintings are similar to the ones found in Ajanta caves and are made using vegetable dye have now disappeared and disfigured due to vandalism until the ASI took over in 1958. There are 287 steps which lead to the top of the hillock, which has around 17

neg: Barabar Caves and the displacement of Persian and Perso-Greek artists and technicians . This know-how seems to have disappeared again after the Maurya period, none of the later caves such as the Ajanta caves having this characteristic of polished surfaces . The very act of digging artificial caves in the rock, of which the Barabar caves represent the oldest case in India, was probably inspired by the caves dug in the rock of the Achaemenids, as is the case in Naqsh-e Rostam.. It seems, however, that in India there had been an ancient tradition of ascetics using caves.. According to Gupta, the

neg: Indian rock-cut architecture a circumambulatory path (pradakshina) around the stupa and an outer rectangular hall for the congregation of the devotees. The construction of caves would wane after the 2nd century CE, possibly due to the rise of Mahayana Buddhism and the associated intense architectural and artistic production in Gandhara and Amaravati. The building of rock-cut caves would revive briefly in the 6th century CE, with the magnificent achievements of Ajanta and Ellora, before finally subsiding as Hinduism replaced Buddhism in the sub-continent, and stand-alone temples became more prevalent. The Ajanta Caves in Maharashtra, a World Heritage Site, are 30 rock-cut cave Buddhist

neg: Ajanta Caves few decades, the caves became famous for their "exotic" setting, impressive architecture, and above all their exceptional and unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery. In 1848, the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson as president. In 1861 this became the nucleus of the new Archaeological Survey of India. During the colonial era, the Ajanta site was in the territory of the princely state of the Hyderabad and not

neg: Harishena at Ajanta, two viharas - caves XVI and XVII and a chaitya - cave XIX were excavated and decorated with painting and sculptures during the reign of Harishena. According to an art historian, Walter M. Spink, all the rock-cut monuments of Ajanta excluding caves nos. 9,10,12,13 and 15A (Ref: Page No. 4, Ajanta-A Brief History and Guide - Walter M. Spink) were built during Harishena's reign though his view is not universally accepted. Harishena was succeeded by two rulers whose names are not known. The end of the dynasty is unknown. They were probably defeated by the Kalachuri of Mahismati.

neg: Mogao Caves of Dunhuang covers more than ten major genres, such as architecture, stucco sculpture, wall paintings, silk paintings, calligraphy, woodblock printing, embroidery, literature, music and dance, and popular entertainment. The caves are examples of rock-cut architecture, but unlike Longmen Grottoes and Yungang Grottoes, the local rock is a rather soft gravel conglomerate that is not suitable for either sculpture or elaborate architectural details. Many of the early caves were developed from earlier Buddhist rock-cut "chaitya" styles seen in places such as the Ajanta Caves in India, with a square-sectioned central column, with sculpture in niches, representing the stupa round which worshippers

neg: Indian painting AD. There are known more than 20 locations around India containing murals from this period, mainly natural caves and rock-cut chambers. The highest achievements of this time are the caves of Ajanta, Bagh, Sittanavasal, Armamalai Cave (Tamil Nadu), Ravan Chhaya rock shelter, Kailasanatha temple in Ellora Caves. Murals from this period depict mainly religious themes of Buddhist, Jain and Hindu religions. There are though also locations where paintings were made to adorn mundane premises, like the ancient theatre room in Jogimara Cave and possible royal hunting lodge circa 7th-century AD – Ravan Chhaya rock shelter. The pattern of large scale

neg: Indian rock-cut architecture are mostly Buddhist shrines and monasteries, dating between 100 BC and 170 AD. Originally, there were probably wooden structures associated with them, which would have deteriorated over time. Historically, artisans carried forward design elements from wood in their rock-cut temples: skilled craftsmen carved rock to imitate timber texture, grain, and structure. The earliest cave temples include the Bhaja Caves, the Karla Caves, the Bedse Caves, the Kanheri Caves, and some of the Ajanta Caves. Relics found in these caves suggest a connection between the religious and the commercial. Buddhist missionaries are known to have accompanied traders on the busy international

neg: Ajanta Caves over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave. The oldest worship halls at Ajanta were built in the 2nd to 1st century BCE, the newest ones in the late 5th century CE, and the architecture of both resembles the architecture of a Christian church, but without the crossing or chapel chevette. The Ajanta Caves follow the Cathedral-style architecture found in still older rock-cut cave carvings of ancient India, such as the Lomas Rishi Cave of the Ajivikas near Gaya in Bihar dated

neg: Ajanta Caves as a community effort rather than a single king or one elite official. Cave 10 is also historically important because in April 1819, a British Army officer John Smith saw its arch and introduced his discovery to the attention to the Western audience. Several others caves were also built in Western India around the same period under royal sponsorship. It is thought that the chronology of these early Chaitya Caves is as follows: first Cave 9 at Kondivite Caves and then Cave 12 at the Bhaja Caves, which both predate Cave 10 of Ajanta. Then, after Cave 10 of Ajanta,

neg: Pitalkhora at Kondana Caves, Cave 9 at Ajanta, which, with its more ornate designs, may have been built about a century later, Cave 18 at Nasik Caves, and Cave 7 at Bedse Caves, to finally culminate with the "final perfection" of the Great Chaitya at Karla Caves. Pitalkhora The Pitalkhora Caves, in the Satamala range of the Western Ghats of Maharashtra, India, are an ancient Buddhist site consisting of 14 rock-cut cave monuments which date back to the third century BCE, making them one of the earliest examples of rock-cut architecture in India. Located about 40 kilometers from Ellora, the site

neg: Ajanta Caves in chronological order: Cave 3 at Pitalkhora, Cave 1 at Kondana Caves, Cave 9 at Ajanta, which, with its more ornate designs, may have been built about a century later, Cave 18 at Nasik Caves, and Cave 7 at Bedse Caves, to finally culminate with the "final perfection" of the Great Chaitya at Karla Caves. Cave 10 features a Sanskrit inscription in Brahmi script that is archaeologically important. The inscription is the oldest of the Ajanta site and reads: include some surviving from the early period, many from an incomplete programme of modernisation in the second period, and a very

neg: Indian rock-cut architecture were carved out as residential blocks for Jain monks during the reign of King Kharavela. Udayagiri means "Sunrise Hill" and has 18 caves while Khandagiri has 15 caves. After the Barabar Caves, huge efforts were made at building religious caves in Western India until the 6th century CE. However, the polishing of cave walls was abandonned, never to be revived. Such grandiose caves as Karla Caves (1st century CE) or the Ajanta Caves (5th century CE) do not have any polishing either. This may be due to the fact that Mauryan caves where dedicated and sponsored by the Mauryan Imperial

neg: Ajanta Caves eruptions at the end of the Cretaceous geological period. The rock is layered horizontally, and somewhat variable in quality. This variation within the rock layers required the artists to amend their carving methods and plans in places. The inhomogeneity in the rock have also led to cracks and collapses in the centuries that followed, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; as evidenced by some of the incomplete caves such as the partially-built "vihara" caves 21 through 24 and the abandoned incomplete cave

neg: Architecture of Maharashtra Architecture of Maharashtra Maharashtra, India is famous for its caves and rock cut architecture. It is said that the varieties found in Maharashtra are wider than the caves and rock-cut architecture found in the rock cut areas of Egypt, Assyria, Persia and Greece. The Buddhist monks first started these caves in the 2nd century BC, in search of serene and peaceful environment for meditation, and they found these caves on the hillsides. Hindu cave temples at Ellora and Ajanta contain fine artistic design elements and India's oldest wall paintings can be seen here. Maharashtra's famous rock-cut caves have several distinct

neg: Ajanta Caves period caves lacked figurative sculpture, emphasizing the stupa instead. According to Spink, once the Satavahana period caves were made, the site was not further developed for a considerable period until the mid-5th century. However, the early caves were in use during this dormant period, and Buddhist pilgrims visited the site, according to the records left by Chinese pilgrim Faxian around 400 CE. The second phase of construction at the Ajanta Caves site began in the 5th century. For a long time it was thought that the later caves were made over an extended period from the 4th to the 7th

neg: Buddhist caves in India would revive briefly in the 6th century CE, with the magnificent achievements of Ajanta and Ellora, before finally subsiding as Hinduism replaced Buddhism in the sub-continent, and stand-alone temples became more prevalent. The Ajanta Caves in Maharashtra, a World Heritage Site, are 30 rock-cut cave Buddhist temples carved into the sheer vertical side of a gorge near a waterfall-fed pool located in the hills of the Sahyadri mountains. Like all the locations of Buddhist caves, this one is located near main trade routes and spans six centuries beginning in the 2nd or 1st century B.C. A period of intense building

neg: Ajanta Caves in all cases". The Ajanta Caves were built in a period when both the Buddha and the Hindu gods were simultaneously revered in Indian culture. According to Spink and other scholars, not only the Ajanta Caves but other nearby cave temples were sponsored and built by Hindus. This is evidenced by inscriptions wherein the role as well as the Hindu heritage of the donor is proudly proclaimed. According to Spink, The role of Hindu artisans is confirmed by archaeological excavations across the river from the Ajanta caves. The caves must have employed a large workforce of artisans who likely lived

neg: Pitalkhora and an ancient rainwater harvesting system. These caves have been significant in helping establish the chronology of cave building in the Ajanta-Ellora region. The Chaitya hall, Cave 3 of Pitalkhora, represents an important marker in the chronology of the Chaitya hall design in western India. It is thought that the chronology of these early Chaitya Caves is as follows: first, in the 1st century BCE, Cave 9 at Kondivite Caves and then Cave 12 at the Bhaja Caves, which both predate Cave 10 of Ajanta. Then, after Cave 10 of Ajanta, in chronological order: Cave 3 at Pitalkhora, Cave 1

neg: Ellora Caves the Indian state of Maharashtra about northwest from the city of Aurangabad, east-northeast from Mumbai, and about west from the Ajanta Caves. Ellora occupies a relatively flat rocky region of the Western Ghats, where ancient volcanic activity in this area had created multilayered basalt formations, known as the Deccan Traps. The volcanic activity that formed the west-facing cliff, which houses the Ellora caves, occurred during the Cretaceous period. The resulting vertical face made access to many layers of rock formations easier, enabling architects to pick basalt with finer grains for more detailed sculpting. The construction at Ellora has been studied

neg: Deccan Odyssey A Wild Trail. The journey begins from Mumbai to Goa via Nashik, Ajanta Ellora Caves, Kolhapur, Sindhudurg and back. This tour starts from New Delhi and travels to Sawai Madhopur, Agra, Jaipur, Udaipur, Vadodara, Ellora Caves, then ends in Mumbai. This is just the upside down version of "Indian Odyssey" which begins from Mumbai up to New Delhi in earlier mentioned route. This expedition starts from Mumbai and moves to Bijapur, Aihole, Pattadakal, Hampi, Hyderabad, Ellora Ajanta Caves and finally back to Mumbai. This amazing journey to witness the beauty of Gujarat also begins from Mumbai followed by Vadodara, Palitana,

neg: Harishena Harishena Harishena () was the successor of his father Devasena. He was a great patron of Buddhist architecture, art and culture. The World Heritage monument Ajanta is surviving example of his works. The rock cut architectural cell-XVI inscription of Ajanta states that he conquered Avanti (Malwa) in the north, Kosala (Chhattisgarh), Kalinga and Andhra in the east, Lata (Central and Southern Gujarat) and Trikuta (Nasik district) in the west and Kuntala (Southern Maharashtra) in the south. Varahadeva, a minister of Harishena and the son of Hastibhoja, excavated the rock-cut vihara of Cave XVI of Ajanta. Three of the Buddhist caves

neg: Barabar Caves in Maharashtra, such as in Ajanta and Karla Caves. The Barabar caves greatly influenced the tradition of rock-cut architecture in the Indian subcontinent. The cave of Lomas Rishi is probably the most famous of the caves of Barabar, because of its beautifully carved door. It is on the southern side of Barabar granite hill, and is adjacent to Sudama cave, which is on the left. Lomas Rishi consists of two rooms: a rectangular room measuring 9.86x5.18m, and a circular, semi-hemispherical room 5m in diameter, which is accessed from the rectangular room by a narrow rectangular passage. This cave has an

neg: Karla Caves chronology of these early Chaitya Caves is as follows: first Cave 9 at Kondivite Caves, then Cave 12 at the Bhaja Caves and Cave 10 of Ajanta Caves, around the 1st century BCE. Then, in chronological order: Cave 3 at Pitalkhora, Cave 1 at Kondana Caves, Cave 9 at Ajanta, which, with its more ornate designs, may have been built about a century later, Cave 18 at Nasik Caves, and Cave 7 at Bedse Caves, to finally culminate with the "final perfection" of the Great Chaitya at Karla Caves. The chaitya follows the usual pattern for the period, but is

neg: Architecture of Maharashtra style such as The Imperial and Palais Royale form the skyline of Mumbai. Architecture of Maharashtra Maharashtra, India is famous for its caves and rock cut architecture. It is said that the varieties found in Maharashtra are wider than the caves and rock-cut architecture found in the rock cut areas of Egypt, Assyria, Persia and Greece. The Buddhist monks first started these caves in the 2nd century BC, in search of serene and peaceful environment for meditation, and they found these caves on the hillsides. Hindu cave temples at Ellora and Ajanta contain fine artistic design elements and India's oldest

neg: Ajanta Caves given up all materialistic possessions versus the sensual life of those it considered materialistic, luxurious, symbols of wealth, leisurely and high fashion. Many frescos show scenes from shops, festivals, jesters at processions, palaces and performance art pavilions. These friezes share themes and details of those found in Bharhut, Sanchi, Amaravati, Ellora, Bagh, Aihole, Badami and other archaeological sites in India. Ajanta caves contributes to visual and descriptive sense of the ancient and early medieval Indian culture and artistic traditions, particularly those around the Gupta Empire era period. The early colonial era description of Ajanta caves was largely orientalist and critical,

neg: Ajanta Caves the door frame. The ornate carvings on the frame has female figures with mythical "makara" creatures found in ancient and medieval era Indian arts. The cave's construction was likely initiated about 465 CE but abandoned because the rock has geological flaws. The construction was resumed in 475 CE after Asmakas restarted work at the Ajanta caves, but abandoned again as the artists and sponsor redesigned and focussed on an expanded Cave 6 that abuts Cave 5. Cave 6 is two storey monastery (16.85 X 18.07 m). It consists of a sanctum, a hall on both levels. The lower level is

neg: Bagh Caves Bagh Caves The Bagh Caves are a group of nine rock-cut monuments, situated among the southern slopes of the Vindhyas in Bagh town of Dhar district in Madhya Pradesh state in central India. These monuments are located at a distance of 97 km from Dhar town. These are renowned for mural paintings by master painters of ancient India. The use of the word "cave" is a bit of a misnomer, since these are not natural, but instead examples of Indian rock-cut architecture. The Bagh caves, like those at Ajanta, were excavated by master craftsmen on perpendicular sandstone rock face of

neg: Ajanta Caves 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. This monastery is the largest among the Ajanta caves and

neg: Cliff dwelling Cliff dwelling In archeology, cliff dwellings are dwellings formed by using niches or caves in high cliffs, with more or less excavation or with additions in the way of masonry. Two special sorts of cliff dwelling are distinguished by archaeologists: the cliff-house, which is actually built on levels in the cliff, and the cavate, which is dug out, by using natural recesses or openings. Rock-cut architecture generally refers to rather grander temples, but also tombs, cut into living rock, although for example the Ajanta Caves in India, of the 2nd century BCE to 5th century CE, probably housed several hundred

neg: Ajanta Caves merit added small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone. The majority of the caves are "vihara" halls with symmetrical square plans. To each vihara hall are attached smaller square dormitory cells cut into the walls. A vast majority of the caves were carved in the second period, wherein a shrine or sanctuary is appended at the rear of the cave, centred on a large statue of the Buddha, along

neg: Ajanta Caves to the 3rd century BCE. These chaitya-griha are called worship or prayer halls. The four completed "chaitya" halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. 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 later two have high ribbed roofs carved into the rock, which reflect timber forms, and the earlier two are

neg: Nasik Caves Cave 9 at Ajanta Caves, which, with its more ornate designs, may have been built about a century later, Only then appears Cave 18 at Nasik Caves, to be followed by Cave 7 at Bedse Caves, and finally by the "final perfection" of the Great Chaitya at Karla Caves (circa 120 CE). The doorway is evidently of an early date, and the ornament up the left side is almost identical with that found on the pillars of the northern gateway at Sanchi, with which it consequently is in all probability coeval (1st century CE). The carving over the doorway, which

neg: Vihara 1st-century vihara, with nine cells in the interior and originally four around the entrance, and no shrine room. It is distinguished by elaborate gavaksha and railing relief carving around the cell-doors, but especially by having a rounded roof and apsidal far end, like a chaitya hall. The earliest Buddhist rock-cut cave abodes and sacred places are found in the western Deccan dating back to the 3rd century BC. These earliest rock-cut caves include the Bhaja Caves, the Karla Caves, and some of the Ajanta Caves. Vihara with central shrine containing devotional images of the Buddha, dated to about the 2nd

neg: Ajanta Caves and square bases. 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

neg: Christiana Herringham the formation of the Society, Herringham returned to the Ajanta caves with Rothenstein. She set up a camp with the help of the Nizam of Hyderabad, and with several artists (including Dorothy Larcher) set about copying the frescoes. It should also be noted that Herringham was a committed suffragette. In 1914, she returned to the UK but was beset by ill health until her death in Sussex in 1929. As part of her work for the India Society, she travelled to India in 1906 and 1911 and made copies of the Buddhist cave paintings at Ajanta near Hyderabad, which were

neg: Sithanavasal Activity: Bird watching, boating, rock climbing, trekking. Places nearby: Pre historic megalithic burial sites, smaller rock cut caves. Sithanavasal census, Sithanavasal had a total population of 1629 with 805 males and 824 females. Out of the total population, 650 people were literate. The famous historical Fresco Paintings (similar to the Ajanta paintings) by the Jain saints are found inside the caves situated here. There are also the Jain beds of rock (Samanar Padukkai) Sittanavasal Cave is a rock-cut Jain monastery located at around 60 km from the city - it is an ideal place for a Sunday morning trip. Maintained

neg: Ellora Caves & Buddhist caves, and the Yadava dynasty, which constructed a number of the Jain caves. Funding for the construction of the monuments was provided by royals, traders and the wealthy of the region. Although the caves served as monasteries, temples and a rest stop for pilgrims, its location on an ancient South Asian trade route also made it an important commercial centre in the Deccan region. It is north-west of Aurangabad, and about east-northeast of Mumbai. Today, the Ellora Caves, along with the nearby Ajanta Caves, are a major tourist attraction in the Marathwada region of Maharashtra and a protected

neg: Ajanta Caves some point with large carefully carved pieces as it distracted the entrance view of Cave 16. Over 80% of the Ajanta caves were "vihara" (temporary traveler residences, monasteries). The designers and artisans who built these caves included facilities for collecting donations and storing grains and food for the visitors and monks. Many of the caves include large repositories cut into the floor. The largest storage spaces are found, states Spink, in the "very commodious recesses in the shrines of both Ajanta Cave Lower 6 and Cave 11". These caves were probably chosen because of their relative convenience and the security

neg: Ajanta Caves and continued for the next two centuries". According to Spink, the construction activity at the incomplete Ajanta Caves was abandoned by wealthy patrons in about 480 CE, a few years after the death of Harishena. However, states Spink, the caves appear to have been in use for a period of time as evidenced by the wear of the pivot holes caves constructed close to 480 CE. The second phase of constructions and decorations at Ajanta corresponds to the very apogee of Classical India, or India's golden age. According to Richard Cohen, 7th-century Chinese traveler Xuanzang's reports about the caves, and

neg: Indian rock-cut architecture or the Pandavleni caves. These caves generally followed an apsidal plan with a stupa in the back fot the chaityas, and a rectangular plan with surrounding cells for the viharas. When Buddhist missionaries arrived, they naturally gravitated to caves for use as temples and abodes, in accord with their religious ideas of asceticism and the monastic life. The Western Ghats topography, with its flat-topped basalt hills, deep ravines, and sharp cliffs, was suited to their cultural inclinations. The earliest of the Kanheri Caves were excavated in the 1st and 2nd centuries B.C., as were those at Ajanta, which were occupied

neg: Ajanta Caves According to Walter Spink – one of the most respected Art historians on Ajanta, these caves were by 475 CE a much revered site to the Indians, with throngs of "travelers, pilgrims, monks and traders". The site was vastly transformed into its current form in just 20 years, between early 460 CE to early 480 CE, by regional architects and artisans. This accomplishment, states Spink, makes Ajanta, "one of the most remarkable creative achievements in man's history". The Ajanta Caves painting are a significant source of socio-economic information in ancient India, particularly in relation to the interactions of India with

neg: History of painting paintings were the rock paintings of prehistoric times, the petroglyphs as found in places like the Rock Shelters of Bhimbetka, and some of them are older than 5500 BC. Such works continued and after several millennia, in the 7th century, carved pillars of Ajanta, Maharashtra state present a fine example of Indian paintings, and the colors, mostly various shades of red and orange, were derived from minerals. Ajanta Caves in Maharashtra, India are rock-cut cave monuments dating back to the 2nd century BCE and containing paintings and sculpture considered to be masterpieces of both Buddhist religious art and universal pictorial

neg: Rock-cut architecture natural cliff, skilled use of plaster and constant microclimate often have helped to preserve this art in better condition than in conventional buildings. Such exceptional examples are the ancient and early medieval frescoes in such locations as Bamyan Caves in Afghanistan with the most ancient known oil paintings in the world from 8th century AD, Ajanta Caves in India with well preserved tempera paintings from 2nd century BCE, Christian frescoes on Churches of Göreme, Turkey and numerous other monuments in Asia, Europe and Africa. Rock-cut architecture Rock-cut architecture is the creation of structures, buildings, and sculptures by excavating solid rock

neg: Cave paintings in India Cave paintings in India Almost all early painting in India survives in caves, as very few buildings from Ancient India survive, and though these were probably often painted, the work has been lost. The history of cave paintings in India or rock art range from drawings and paintings from prehistoric times, beginning around 30,000 BCE in the caves of Central India, typified by those at the Bhimbetka rock shelters to elaborate frescoes at sites such as the rock-cut artificial caves at Ajanta and Ellora, extending as late as the 8th - 10th century CE. In Tamil Nadu, ancient Paleolithic Cave

neg: Ajanta Caves a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in many caves simultaneously about 462. This activity was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Thereafter work continued on only Caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the

neg: History of Patna at the time. There are forty-eight caves making up Ajanta, most of which were carved out of the rock between 460 and 480, and they are filled with Buddhist sculptures. The rock temple at Elephanta (near Bombay) contains a powerful, eighteen foot statue of the three-headed Shiva, one of the principal Hindu gods. Each head represents one of Shiva's roles: that of creating, that of preserving, and that of destroying. The period also saw dynamic building of Hindu temples. All of these temples contain a hall and a tower. The greatest writer of the time was Kalidasa. Poetry in the

neg: Ajanta Caves in the Ajanta paintings, which must have been imported from Afghanistan or Iran. It also suggests, states Branacaccio, that the Buddhist monastic world was closely connected with trading guilds and the court culture in this period. A small number of scenes show foreigners drinking wine in Caves 1 and 2. Some show foreign Near East kings with wine and their retinue which presumably add to the "general regal emphasis" of the cave. According to Brancaccio, the Ajanta paintings show a variety of colorful, delicate textiles and women making cotton. Textile probably was one of the major exports to foreign lands,

neg: Ajanta Caves conditioned by ideas and assumptions in the colonial mind, saw what they wanted to see. To many who are unaware of the premises of Indian religions in general, and Buddhism in particular, the significance of Ajanta Caves has been like rest of Indian art. According to Richard Cohen, Ajanta Caves to them has been yet another example of "worship this stock, or that stone, or monstrous idol". In contrast, to the Indian mind and the larger Buddhist community, it is everything that art ought to be, the religious and the secular, the spiritual and the social fused to enlightened perfection.

neg: Ajanta Caves inconsistent with the Victorian values and stereotyping. According to William Dalrymple, the themes and arts in the Ajanta caves were puzzling to the 19th century Orientalists. Lacking the Asian cultural heritage and framework that sees "nothing odd in the juxtaposition of monk and dancing girl", and with no knowledge of Jataka Tales or equivalent Indian fables, they could not comprehend it. They projected their own views and assumptions, calling it something that lacks reason and rationale, something that is meaningless crude representation of royalty and foreigners with mysticism and sensuousness. The 19th-century views and interpretations of the Ajanta Caves were

neg: Vihara Initially these held stupas, but later a large sculpted Buddha image, sometimes with reliefs on the walls. The verandah might also have sculpture, and in some cases the walls of the main hall. Paintings were perhaps more common, but these rarely survive, except in a few cases such as Caves 2, 10, 11 and 17 at the Ajanta Caves. As later rock-cut viharas are often on up to three storeys, this was also probably the case with the structural ones. As the vihara acquired a central image, it came to take over the function of the chaitya worship hall, and

neg: Bidriware other jewelry and showpiece items are made from it. There are craftsmen in this art practice who took this practice to national and international recognition. One of them is Shah Rasheed Ahmed Quadri is a recipient of several awards like National award which he received in 1988, Karnataka state award in 1984, Rajyostava award in 2006, Great Indian Achievement award in 2004, and District Rajyotsava award in 1996. In Aurangabad, artisans also make patterns of motifs from Ajanta Caves especially Ajanta Padmapani which have become very popular among foreign tourists. This world-famous artistic metallic work is on the revival path

neg: Ajanta Caves the site. Its date could be ascribed to circa 477 CE, just before the sudden death of Emperor Harisena. The work stopped after the scooping out of a rough entrance of the hall. Cave 4, a vihara, was sponsored by Mathura, likely not a noble or courtly official, rather a wealthy devotee. This is the largest vihara in the inaugural group, which suggests he had immense wealth and influence without being a state official. It 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

neg: Ajanta Caves monastery from the early period, consisting of a hall with seven cells, each also with two stone beds, all carved out of the rock. Each cell has rock-cut beds for the monks. In contrast to ASI's estimate, Gupte and Mahajan date both these caves about two to three centuries later, between 1st and 2nd century CE. Cave 14 is another unfinished monastery (13.43 X 19.28 m) but carved above Cave 13. The entrance door frame shows "sala bhanjikas". Cave 15 is a more complete monastery (19.62 X 15.98 m) with evidence that it had paintings. The cave consists of an

neg: Indian painting Indian painting Indian painting has a very long tradition and history in Indian art. The earliest Indian paintings were the rock paintings of pre-historic times, the petroglyphs as found in places like Bhimbetka rock shelters, some of the Stone Age rock paintings found among the Bhimbetka rock shelters are approximately 30,000 years old. India's Buddhist literature is replete with examples of texts which describe palaces of the army and the aristocratic class embellished with paintings, but the paintings of the Ajanta Caves are the most significant of the few survivals. Smaller scale painting in manuscripts was probably also practised in

neg: Ajanta Caves for extended period of time nearby, across from the river near the site. Excavations have uncovered extensive brick structures for workers and visiting elite sponsors, along with Shaiva and Shakta Hindu deities such as a red sandstone image of Durga Mahishasuramardini. According to Yuko Yokoschi and Walter Spink, these excavated artifacts of the 5th century near the site suggest that the Ajanta caves deployed a huge number of builders. Cave 1 was built on the eastern end of the horse-shoe-shaped scarp and is now the first cave the visitor encounters. This cave, when first made, would have been a less

neg: Ajanta Caves by scholars, but there are differing opinions on which century in which the early caves were built. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Hindu Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period of the Maurya Empire (300 BCE to 100 BCE). Of these, caves 9 and 10 are stupa containing worship halls of "chaitya-griha" form, and caves 12, 13, and 15A are "vihāras" (see the architecture section below for descriptions of these types). The first Satavahana

neg: Nasik Caves some story which seems to end in the woman being carried off by one of the men.<br> Over the door are the three symbols, the Bodhi tree, the dagoba, and the chakra, with worshipers, and at each side is a dvarapala, or doorkeeper, holding up a bunch of flowers. If the carving on this door be compared with any of those at Ajanta, it will be found very much ruder and less bold, but the style of headdress agrees with that on the screen walls at Karle and Kanheri, and in the paintings in Cave X at Ajanta, which probably

neg: Vakataka dynasty arts, architecture and literature. They led public works and their monuments are a visible legacy. The rock-cut Buddhist viharas and chaityas of Ajanta Caves (a UNESCO World Heritage Site) were built under the patronage of Vakataka emperor, Harishena. The founder of the dynasty was Vindhyashakti (250-270), whose name is derived from the name of the goddess Vindhya. The dynasty may be originated there. Almost nothing is known about Vindhyashakti, the founder of the Vakatakas. In the Cave XVI inscription of Ajanta he was described as the "banner of the Vakataka family" and a "Dvija". It is stated in this inscription

neg: Vakataka dynasty succeeded by his son Devasena (c. 450 - 475). His administration was actually run by his minister Hastibhoja. During his reign, one of his servant Svaminadeva excavated a tank named "Sudarshana" near Washim in c. 458-59. Harishena (c. 475 - 500) succeeded his father Devasena. He was a great patron of Buddhist architecture, art and culture. The World Heritage monument Ajanta Caves is surviving example of his works. The rock cut architectural cell-XVI inscription of Ajanta states that he conquered Avanti (Malwa) in the north, Kosala (Chhattisgarh), Kalinga and Andhra in the east, Lata (Central and Southern Gujarat) and Trikuta

neg: Ajanta Caves 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

neg: Ajanta Caves of Ajanta reconstruction that started about four centuries after the earlier Hinayana theme construction. The upper storey was not envisioned in the beginning, it was added as an after thought, 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 cave work was most likely in progress between 460 and 470 CE, and it is the first that shows attendant Bodhisattvas. The upper cave construction probably began in 465, progressed swiftly, and much deeper

neg: Aurangabad Caves few kilometers from the campus of Dr Babasaheb Ambedkar Marathwada University and the Bibi-ka-Maqbara. Carved in the Sihaychal ranges, the Aurangabad caves somewhat have been overshadowed by the UNESCO World Heritage monuments of Ellora and Ajanta cave temples. Though its sculptures are comparable to Ajanta and Ellora, the caves are much smaller, more decrepit and less visited. Though in the 20th century, a few scholars started looking at these cave temples as a missing link between Ajanta and Ellora and also after an exhaustive study, were compelled to describe it as a " Sensitive remaking of life situated in time

neg: Vihara the rainy season (Chaturmas), the term "vihara" refers their wanderings. Vihara or vihara hall has a more specific meaning in the architecture of India, especially ancient Indian rock-cut architecture. Here it means a central hall, with small cells connected to it sometimes with beds carved from the stone. Some have a shrine cell set back at the centre of the back wall, containing a stupa in early examples, or a Buddha statue later. Typical large sites such as the Ajanta Caves, Aurangabad Caves, Karli Caves, and Kanheri Caves contain several viharas. Some included a chaitya or worship hall nearby. The

neg: Chaitya Ajanta Caves (c. 475–500), where four horizontal zones of the decoration use repeated "chaitya arch" motifs on an otherwise plain band (two on the projecting porch, and two above). There is a head inside each arch. Early Chaitya halls are known from the 3rd century BCE. They generally followed an apsidal plan, and were either rock-cut or freestanding. The earliest surviving spaces comparable to the "chaitya" hall date to the 3rd century BCE. These are the rock-cut Barabar Caves (Lomas Rishi Cave and Sudama Cave), excavated during the reign of Ashoka by or for the Ajivikas, a non-Buddhist religious and

neg: Ajanta Caves Cave 28 is an unfinished monastery, partially excavated, at the westernmost end of the Ajanta complex and barely accessible. Cave 29 is an unfinished monastery at the highest level of the Ajanta complex, apparently unnoticed when the initial numbering system was established, and physically located between Caves 20 and 21. In 1956, a landslide covered the footpath leading to Cave 16. In the attempts to clear and restore the walkway, a small aperture and votive stupa were noticed in the debris by the workers, in a location near the stream bed. Further tracing and excavations led to a previously unknown

neg: Robert Gill made based on his work and love story with a native girl Paro. Robert Gill Major Robert Gill (1804–1879) was an army officer, antiquarian, painter and photographer in British India. He is best known for his paintings copying the frescoes of the Ajanta caves. Gill was the first painter – after their rediscovery in 1819 – to make extensive copies of the Buddhist cave paintings, which mostly date to the 5th century CE. His surviving copies and drawings remain significant in Ajanta studies as the originals have significantly deteriorated since his time. Gill was born in Hackney, London, the son

neg: Ajanta Caves retreat for monks, as well as a resting-site for merchants and pilgrims in ancient India. While vivid colours and mural wall-painting were abundant in Indian history as evidenced by historical records, Caves 16, 17, 1 and 2 of Ajanta form the largest corpus of surviving ancient Indian wall-painting. The Ajanta Caves are mentioned in the memoirs of several medieval-era Chinese Buddhist travellers to India and by a Mughal-era official of Akbar era in the early 17th century. They were covered by jungle until accidentally "discovered" and brought to Western attention in 1819 by a colonial British officer Captain John Smith

neg: Satavahana dynasty the Ajanta Caves. Only a few fragments related to the Satavahanas have survived in Caves No. 9 and 10, both of which are chaitya-grihas with stupas. The most important surviving painting of the Satavahana period at Ajanta is the "Chhadanta Jataka" in Cave No. 10, but that, too, is only fragmentary. It is a painting of an elephant named Bodhisattva with six tusks, related to a mythological story. The human figures, both male and female, are typically Satavahanas, almost identical with their counterparts on the Sanchi Gateways so far as their physiognomy, costumes, and jewellery are concerned. The only difference

neg: Sithanavasal Sithanavasal census, Sithanavasal had a total population of 1629 with 805 males and 824 females. Out of the total population, 650 people were literate. The famous historical Fresco Paintings (similar to the Ajanta paintings) by the Jain saints are found inside the caves situated here. There are also the Jain beds of rock (Samanar Padukkai) Sittanavasal Cave is a rock-cut Jain monastery located at around 60 km from the city - it is an ideal place for a Sunday morning trip. Maintained by the ASI it also sports many attractions in the complex which helps kids have their fun quotient.

neg: Indian art Their use has continued in some areas into historic times. The Rock Shelters of Bhimbetka are on the edge of the Deccan Plateau where deep erosion has left huge sandstone outcrops. The many caves and grottos found there contain primitive tools and decorative rock paintings that reflect the ancient tradition of human interaction with their landscape, an interaction that continues to this day. The oldest surviving frescoes of the historical period have been preserved in the Ajanta Caves with Cave 10 having some from the 1st century CE, though the larger and more famous groups are from the 5th century.

neg: Ajanta Caves out toward the rear. 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. Altogether, Upendragupta is known to have sponsored at least 5 of the caves in Ajanta. He may have spent too much wealth on religious pursuits however, as he was ultimately defeated by the attacks of the Asmaka. Cave 17 has thirty major murals. depict Buddha in various forms and postures – Vipasyi, Sikhi, Visvbhu, Krakuchchanda, Kanakamuni, Kashyapa and Sakyamuni. Also depicted are Avalokitesvara, the story of Udayin

neg: Cultural activities of Maharashtra borrowed from North and South India. The temples also blend themes from Hindu, Buddhist and Jain cultures. A "National Geographic" edition reads, ""The flow between faiths was such that for hundreds of years, almost all Buddhist temples, including the ones at Ajanta, were built under the rule and patronage of Hindu kings."" The temple of Vitthal at Pandharpur is the most important temple for the Varkari sect. Other important religious places are the Ashtavinayaka temples of Lord Ganesha, Bhimashankar which is one of the Jyotirling (12 important shiva temples). Ajanta and Ellora caves near Aurangabad as well as Elephanta Caves

neg: Aurangabad, Maharashtra Aurangabad, Maharashtra Aurangabad () is a city in the Aurangabad district of Maharashtra state in India.The city is a tourism hub, surrounded by many historical monuments, including the Ajanta Caves and Ellora Caves, which are UNESCO World Heritage Sites, as well as Bibi Ka Maqbara and Panchakki. Khadki was the original name of the village which was made a capital city by Malik Ambar, the Prime Minister of Murtaza Nizam, Shah of Ahmadnagar. Within a decade, Khadki grew into a populous and imposing city. Malik Ambar died in 1626. He was succeeded by his son Fateh Khan, who changed the

neg: Robert Gill Society, and later inclusion and illustration in his book in Indian rock-cut architecture. From 1844, Gill was taken away from military service to copy the Ajanta murals for the Asiatic Society of Bombay, at an additional salary of 200 rupees a year. He spent thirty years measuring, mapping, cataloguing, photographing, and painting in the caves, despite dangers from wild animals and the local Bhil people. Arriving at Ajanta in early 1845, he completed an initial survey and inspection, submitting a report the same year. He began to ship completed paintings back to London in 1847, where many were exhibited at

neg: Architecture of India including laity, members of the clergy, government officials, and even foreigners such as "Yavanas" (Greeks) representing about 8% of all inscriptions. The construction of caves would wane after the 2nd century CE, possibly due to the rise of Mahayana Buddhism and the associated intense architectural and artistic production in Gandhara and Amaravati. The building of rock-cut caves would revive briefly in the 5th century CE, with the magnificent achievements of Ajanta and Ellora, before finally subsiding as Hinduism replaced Buddhism in the sub-continent, and stand-alone temples became more prevalent. Rock-cut architecture also developed with the apparition of stepwells in India,

neg: Ajanta Caves monasteries. Much of its front is damaged, likely from a landslide. The cave excavation proved difficult and probably abandoned after a geological fault consisting of a mineral layer proved disruptive to stable carvings. Spink, in contrast, states that Cave 8 is perhaps the earliest cave from the second period, its shrine an "afterthought". It may well be the oldest Mahayana monastery excavated in India, according to Spink. The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain. Caves 9 and 10 are the two

neg: Sukanasa Later, these large motifs developed into a setting for sculpture that was largely "blind" or not actually an opening in the wall. Both phases now only survive in rock-cut "cave temples" at sites such as the Ajanta Caves, where the first type can be seen at Caves 9, 10, 19, and 26, and Ellora, where Cave 10 shows the second type. According to Adam Hardy, "possibly the first use of a sukanasa in a Dravida temple" is the Parvati temple, Sandur (7–8th century), using his terminology where "Karnataka Dravida" architecture is treated as a form of Dravidian architecture; others describe

neg: Ajanta Caves The Jataka tales are exemplified through the life example and sacrifices that the Buddha made in hundreds of his past incarnations, where he is depicted as having been reborn as an animal or human. Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 10 and 11) are effectively unique survivals of ancient painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painters had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner

neg: Ajanta Caves British India. In the early 1920s, the Nizam of Hyderabad appointed people to restore the artwork, converted the site into a museum and built a road to bring tourists to the site for a fee. These efforts resulted in early mismanagement, states Richard Cohen, and hastened the deterioration of the site. Post-independence, the state government of Maharashtra built arrival, transport, facilities and better site management. The modern Visitor Center has good parking facilities and public conveniences and ASI operated buses run at regular intervals from Visitor Center to the caves. The Ajanta Caves, along with the Ellora Caves, have become

neg: Bhagwan Lal Indraji "Ajanta Notes and Rock-cut Temples at Badami in the Deccan". Bhagwanlal contributed extensively to Thana, Poona, Nasik, volumes of The Gazetteer of the Bombay Presidency, where he contributed on Eksar Memorial stones, Elephanta. Jogeshwari Kondivti, Lonad Pulu Sonala caves, on Shahur-Atgaon sculptures, Junnar and nanghat Caves, Nasik caves. He contributed socio-religious study on Pandharpur in Sholapur Gazetteer. He also arranged a genealogy of the Kashtriya rulers of India, on the basis of coins. In addition, he prepared detailed records of language, costumes, lifestyle, religion and culture in various regions of India. He gifted all his notes, inscriptions, coins, manuscripts and

neg: Nasik Caves great arch, and the insertion of the hooded snake, will, on comparison with the façades at Bedsa and Karla, tend to suggest an early date for this cave.<br> Chaitya No. 18 participates to a chronology of several other Chaitya caves which were built in Western India under royal sponsorship. It is thought that the chronology of these early Chaitya Caves is as follows: first Cave 9 at Kondivite Caves, then Cave 12 at the Bhaja Caves and Cave 10 of Ajanta Caves, around the 1st century BCE. Then, in chronological order: Cave 3 at Pitalkhora, Cave 1 at Kondana Caves,

neg: Buddhist caves in India and some of the Ajanta Caves. Relics found in these caves suggest a connection between the religious and the commercial, as Buddhist missionaries often accompanied traders on the busy international trading routes through India. Some of the more sumptuous cave temples, commissioned by wealthy traders, included pillars, arches, and elaborate facades during the time maritime trade boomed between the Roman Empire and south-east Asia. Although free standing structural temples were also being built, such as the Bairat Temple (3rd century BCE) and the various free-standing apsidal temples in Sanchi, Taxila or Ter, rock-cut cave temples continued to be built in