Page 487 - (DK Eyewitness) Travel Guide - India

M AHAR ASHTR A  485

Cave 2
Similar in design to Cave 1, this
5th-century vihara is profusely
painted in lustrous colours. The
walls, columns, capitals and
ceiling are covered in scrollwork,
geometric and floral patterns,
and numerous Jataka panels,
including stories connected with
the Buddha’s birth.

The large mandala (circular
diagram) dominates the elaborately
painted ceiling of this remarkable
cave. A depiction of the cosmos, its
outer ring is filled with lotus motifs.
Cave 10
Considered to be Ajanta’s oldest cave, this chaitya griha dates to the
2nd century BC. The left wall has its oldest mural, a frieze depicting a
prince worshipping a Bodhi Tree.

Cave 16
Outstanding paintings
in this cave depict the
conversion of Nanda,
the Buddha’s half-
brother, and show his
wife swooning when
she hears the news of his
becoming a monk.
Numerous figures of the Nanda’s wife, Sundari, fainting upon hearing of
Buddha embellish some of the his conversion
octagonal pillars (39 in all) that
separate the aisles from the
central nave in Cave 10.
Cave 17
This cave has the largest number of
paintings. Among the finest is a vast
panel depicting Simhala’s shipwreck
and encounter with a man-eating
ogress. Also spectacular is a lady at
her toilet, gazing intently into a mirror.
Eight seated Buddha figures are depicted
above the doorway in the verandah, with a row
of amorous couples directly below them.

This detail of an
apsara (celestial
maiden) adoring
the Buddha, is part
of a larger mural on
the verandah to the
right of the door.
A panel from the Visvantara Jataka, to the The Ajanta murals
left of the doorway, depicts Prince Visvantara are renowned for
and his wife drinking wine. They then move to their exquisite
the city gate and give alms to the needy. portrayal of women.

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