The historical setting
The Ajanta Caves are 30 rock-cut Buddhist cave monuments dating from the second century BCE to about 480 CE in Aurangabad district of Maharashtra state in India. Ajanta Caves are a UNESCO World Heritage Site. Universally regarded as masterpieces of Buddhist religious art, the caves include paintings and rock-cut sculptures, described as among the finest surviving examples of ancient Indian art, particularly expressive paintings that present emotions through gesture, pose and form. The caves were built in two phases, the first starting around the second century BCE and the second occurring from 400 to 650 CE, according to older accounts, or in a brief period of 460–480 CE according to later scholarship. The Ajanta Caves constitute ancient monasteries (Viharas) and worship-halls (Chaityas) of different Buddhist traditions carved into a 75-metre (246 ft) wall of rock.
Caves of the first period (Satavahana)
The earliest group consists of caves 9, 10, 12, 13 and 15 A. The murals in these caves depict stories from the Jatakas. Later caves reflect the artistic influence of the Gupta period, 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 Satavahana dynasty (230 BCE – 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 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.
Monasteries
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 with exuberantly detailed reliefs and deities near him as well as on the pillars and walls, all carved out of the natural rock. This change reflects the shift from Hinayana to Mahāyāna Buddhism. These caves are often called monasteries. The central square space of the interior of the viharas is defined by square columns forming a more-or-less square open area.
Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines.
Paintings
Most of the Ajanta caves, and almost all the murals paintings date from nearly 600 years later, during a second phase of construction. The paintings in the Ajanta caves predominantly narrate the Jataka tales. These are Buddhist legends describing the previous births of the Buddha. These fables embed ancient morals and cultural lores that are also found in the fables and legends of Hindu and Jain texts. 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.
Four of the later caves have large and relatively well-preserved mural paintings which, states James Harle, "have come to represent Indian mural painting to the non-specialist", and represent "the great glories not only of Gupta but of all Indian art". They fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or later than the others, but the revised chronology proposed by Spink would place them in the 5th century as well, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region.