Ajanta Finished Caves
Cave 11: Believed to be excavated in phase II, it has an entrance with
a lion-head at each end of the threshold. The ceiling of the verandah is painted
with trees, birds, beast and geometric design. The walls of the hall are adorned
with figures of the Buddha.
Cave 12: Among the earliest of monasteries its doorways in the hall are
topped with arched Chaitya window motifs. Particularly noteworthy is a Brahmi
inscription recording the gift of the rear wall of the cell in the right corner
of the hall.
Cave 13: It is a small monastery belonging to the earlier phase of excavation.
The hall has seven narrow cells, each with two stone beds. One of the cells
has a raised stone pillow in it.
Cave 14: This cave, excavated at a higher level, can be reached by passing
through an incomplete cave. It has a central doorway whose top is adorned with
attendants and maidens clutching branches.
Cave 15: A two-tiered structure, it has a Stupa with a canopy of serpent
hoods in the lower tier. The upper tier has a Chaitya window motif with a pair
of beautifully carved pigeons. The rear wall of the hall is carved with an image
of the Buddha seated on a throne.
Cave 15A: Reached by a descending flight of steps near Cave 15. the walls
of the hall are carved with Chaitya window motifs in relief. Each of the cells
in the hall has a door and raised platforms, which served as beds.
Cave 16: It is one of the finest monasteries at Ajanta. It has a donative
inscription of Varahadeva a minister of the king Harisena. The ceiling of the
front aisle replicates wooden beams, the ends being supported by Ganas, musicians
and flying couples. The teaching Buddha is seated on a lion-throne. To his left
is the dying Princess (the bride of Buddha's cousin Nanda) on the right wall
is the painting of Siddhartha (later the Buddha) using the bow, and the Buddha
begging for alms from his wife and son. On the front wall of the hall are two
scenes from the Jataka tales in which the Bodhisattva appears as an elephant
and as a wise judge, settling a dispute between two women claiming motherhood
of the same child.
Cave 17: The greatest number of wall-paintings are preserved in this
cave. The doorway shows a row of eight Buddhas surrounded by female guardians,
river gooses, and scrollwork and lotus petals. On the left side wall of the
verandah is the unusual composition of the Wheel of life displaying all of creation.
The painting in the hall illustrates the Jataka tales.
Cave 18: A rectangular excavation, it has two pillars with molded bases
and octagonal shafts leading into another cell.
Cave 19: One of the most perfectly executed rock-cut Chaityas with elaborately
carved interiors. Seated Budda figures as well as riders, flying figures, hermits
and musicians adorn the column capitals. Two rows of richly decorated columns
lead up to the standing Buddha. The shrine has a triple stone umbrella above
the monolithic Stupa.
Cave 20: A small monastery with delicately carved verandah columns and
bracket figures. The hall has no pillars, and some of the cells inside have,
above their lintels, a design, which resembles the Shikhara - the top of a temple.
Cave 21: A monastery which, although only partially complete, has many
richly ornamented columns. On the left wall is a fragment of a painting showing
the Buddha preaching to the congregation. Above the side shrines of the verandah
are carved Hariti, the goddess of prosperity, and her attendants to the right,
and a court of Naga, the serpent king to the left.
Cave 22: Excavated at a higher level, this small monastery with a narrow
verandah has four unfinished cells. On the right wall of the shrine are painted
the seven Manushi-Buddhas with Maitreya, under their respective Bodhi Trees.
Cave 26: The interior of this Chaitya Hall is decorated with carved Buddha
figures. The focal Stupa has an image of the Master seated in a pavilion. The
two narrative scenes on the left wall show the temptation by Mara, the god of
passion, and a colossal carved figure of the reclining Buddha, depicting his
ultimate salvation from the cycle of rebirth-the Mahaparinirvana. The disciples
beneath are shown to be mourning the decease of the master, while celestials
are rejoicing in his salvation.
Cave 27: An adjunct cave 26, it has a shrine and an antechamber with
its narrow front wall portraying a Naga king, a couple and a female standing
gracefully on a Makara, a mythical sea monster, with a bird perched on her right
hand. The shrine has an image of the Buddha in teaching attitude.
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