About 107 kms. from the city of Aurangabad. the rock-cut caves of Ajanta nestie m a panoramic gorge, in the form of a gigantic horseshoe. Among the finest examples of some of the earliest Buddhist architecture, cave-paintings and sculptures, these caves comprise Chaitya Halts, or shrines, dedicated to Lord Buddha and Viharas, or monasteries, used by Buddhist monks for meditation and the study of Buddhist teachings.

The paintings that adorn the walls and ceilings of the caves depict incidents from the life of the Buddha and various Buddhist divinities. Among the more interesting paintings are the Jataka taies, illustrating diverse stories relating to the previous incarnations of the Buddha as Bodhisattva, a saintly being who is destined to become the Buddha.

Occupied for almost 700 years, the caves of Ajanta seem to have been abandoned rather abruptly. They remained shrouded in obscurity for over a millennium, till John Smith, a British army officer, accidentally stumbled upon them while on a hunting expedition in 1819.

The 'View Point' - from where John Smith first glimpsed the caves, provides a magnificent sight of the U-shaped gorge and its scenic surroundings.

Cascading down the cliff is 3 spectacular waterfall, which at the bottom feeds a natural pool calledthe Saptakunda.

Ajanta has been designated as a World Heritage Site. to be preserved as an artistic legacy that will continue to suspire and enrich the lives of generations to come.

Listing of Caves
Phase 1 : 2nd century BC to 1st century BC.Caves 9 & 10: Chaitya Halls or shrines.
Caves 12 & 13: Viharas or monasteries.
Phase II : 5th century AD to 6th century AD.
Caves 19, 26 & 29: Chaitya Halls or shrines.
Caves 1-7,11,14-18, 20-25, 27 & 28: Viharas or monasteries.
Unfinished Caves : 3, 5, 8, 23-25. 28 & 29.

The caves of Ajanta can be classified into two distinct phases: the earlier Hinayana phase (I). In which the Buddha was worshipped only in the form of certain symbols. And the later Mahayana phase ('il). in which the Buddha was worshipped in his physical form.

Cave 1 : This is one of the finest monasteries at Ajanta. Graciously posed Bodhisattvas with elaborate head-dresses flank the antechamber doorway. On its either side are two of the best known murals-Bodhisattva Padmapani holding a lotus (left) and Bodhisattva Vajrapani holding a thunderboit (right.) accompanied by attendants, divine musicians and fiying figures. The left wall of the antechamber depicts the assault and temptation by Mara, the god of passion, and on the right wall is the dark princess being offered lotuses by a lady. In the shrine, the Buddha is seen in the teaching position. Under his throne appears the Wheel of Life The left wall of the hall shows scenes from the Mahajanaka Jataka To the right of the rear wall are episodes from the Champeyya Jataka.

Cave 2 : It is remarkable for the painted celling with large medallions, delicate bands of lotus flowers, scroll work and abstract geometric patterns. Episodes connected with the birth of the Buddha such as the dream of his mother Maya, its interpretation by the priests and the birth of Gautama occupy the left wall. Next to this is a representation of the Miracle of Shravasti when the Buddha manifested himself in a thousand forms.

Cave 4 : Planned on a grandiose scale, but never completed. this is the largest monastery at Ajanta it has a central doorway embellished with guardians, flying figures, maidens clutching trees and also images of the Buddha and Ganas, or dwarfs, with garlands Six gigantic standing figures of the Buddha are carved m the walls of the antechamber.

Cave 6 : Excavated on two levels, it has a splendidly carved entrance. The lower hail has 16 octagonal columns In the shrine is the seated Buddha accompanied by standing Buddhas. The upper hall has only one painting, depicting the gift by a monk

Cave 7 : Unlike the other monasteries. this one contains only two small porticos and does not have a hall. The shrine has a seated Buddha with a halo carved on the back wait.

Cave 9 : Rectangular in plan, with a monolithic hemispherical Stupa in the centre Traces of wall-paintings can be seen above which are figures of the Buddha m various poses.

Cave 10 : Probably the earliest cave excavated at Ajanta The paintings through largely obliterated, reveal a royal personage accompanied by soldiers, musicians and dancers, worshipping the Bodhi Tree and the Stupa. Also of interest are the Jataka tales on the nght wall.

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, beasts and geometric aesigns. The wails of the hati are adorned with figures of the Buddha.

Cave 12 : Among the earliest of monasteries its doorways in the hail are topped with arched Chaitya wmdow motifs. Particularly noteworthy is a Brahmi inscription recording the gift of the merchant Ghanamandada. on the rear wail of the cell in the right corner of the hail.

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 s.tone 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 beautifu!!y 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 hail 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 Varahadevaa 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 iion-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 shoves a row of eight Buddhas surrounded by female guardians, river goddesses, scroll work 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 paintings in the hall illustrate the Jataka tales.

Cave 18 : A rectangular excavation it has two pillars with moulded bases and octagonal shafts leading into another cell.

Cave 19 : One of the most perfectly executed rock-cut Chaityas with elaborately carved interiors. Seated Buddha 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 Half 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 to Cave 26. It has a shrine and an antechamber with its narrow front wall portraying a Naga king, a couple anc 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.

Unfinished Caves

Caves 3 & 5 : These are unfinished monasteries of the second phase of excavation. Cave 5 is notable for its intricately carved doorway with female figures standing on Makaras.
Cave 8 : An unfinished monastery excavated in the earlier phase.
Cave 23 : It has some delicately sculpted figures of the river goddesses and amorous couples and decorative medallions containing dancing Ganas.
Cave 24 : An unfinished cave, its verandah has some of the finest sculptures of Naga guardians and river goddesses.
Cave 25 : A small, unfinished monastery, excavated at a higher level, with an enclosed courtyard, a pillared verandah and a hall. There is no shrine inside the cave.
Caves 28 & 29 : Both the caves are largely inaccessible. Cave 28 is a monastery and Cave 29, a Chaitya-griha, or hall of worship.