ARCHITECTURE OF THE BUDDHIST CAVESRock cut sculpture and rock cut architecture have been practised in many countries in the past, particularly in Egypt and Assyria, by the Greeks in Lycia, and the Romans in Petra, both found considerable favour. (Brown Percy, “ Indian Architecture- Buddhist and Hindu”, Taraporewala, D.B. Mumbai, Third Edition, pp 19 (1956) But none of these instances did the art of rock cutter show a wide range such audacity and imaginative as in India. Especially, this applies to the great prayer halls of the Buddhists, as within their pillared aisles there is something not only majestic but magical, as if they were the abode of spirits or supernatural beings, the carved and painted images on their walls giving substance to this impression. The fashioning of architectural forms of the living rock, or rock architecture, occupies a very prominent place in the development of creative art in India.
The remarkable manipulative skill displayed in fashioning in these architectural forms in the rocks- for the actual workmanship is incredibly precise implies- that the workmen employed were by no means mere beginners, but on the contrary had served long apprenticeship in this highly specially form of quarrying. Percy Brown relates that earliest examples of all the excavated halls are the most perfectly planned, and wrought with every line mathematically straight and every angle true. At an early stage in the proceedings, however it is evident that a small chapel with cells attached was first cut near the site of the main hall in which two or three monks entrusted with the direction of the work could live and conduct the ritual.
Percy Brown has observed (.Brown Percy , Indian Architecture , Buddhist and Hindu, Bombay, p 66 (1942) There are certain indications that Ajanta was a place of utmost absolute seclusion, here hidden away in the their rock-cut retreats, the community of artists-priests produced their paintings irrespective of the tide of political conditions which ebbed and flowed in the country around them”
Secondly, Buddhist art displays a tremendous capacity for patience and quiet serenity. One must also remember that the works of rock-cut art and architecture were simultaneously carried out at Kanheri, Karle, Bhaja, Pitalkhore as also on the stupas at Sanchi, Barhut and Amravati and it was not concentrated at Ajanta only. It was a normal feature of Buddhist at to carry over the work for more than five/six centuries. This is the reason that we find many similarities in the facade, the architecture and finishing of the caves.
The changes in the style of architecture were employed in the rock-cut monasteries, the chaityas, and caves. The Hinayana rock cut monasteries represent a definite regional development as they are limited to the western side of India, many of them lying within the circle having Nasik as centre with a radius of three hundred kilometres, the configuration of rugged hills of the Western Ghats, consisting much of the horizontal amygdaloidal and cognate trap formations of considerable thickness and marked uniformity of texture. The edges of these strata terminate in nearly perpendicular cliffs, which provided a surface for the type of architecture contemplated. In the initial stages the style took form of reproductions. The remarkable manipulative skill displayed in highly specialized form of quarrying.
The Buddhist rock-cut architecture could run for several centuries because the Sangha was aware of the drawings and the architectural plans, which could be pass over from generation to generation. Dynastic powers or political upheavals never affected the work. The development of the sculpture, architecture and paintings in Ajanta and other Buddhist caves has been studied by many scholars. Initially by Burgess , followed by Griffiths, Weiner, Schingloff and later by many historians stressing various aspects of Buddhist Art.
(Burgess, James:” Buddhist Cave Temples and Their Inscriptions”, Archaeological Survey of Western India, IV, Trubner & Co.; Indological Book House London; Varanasi, (1883) reprinted in (1964);
Burgess, James, “Notes on the Bauddha Rock Temples of Ajanta, Their Paintings and Sculptures”, Archaeological Survey of Western India, IX, Government Central Press, Bombay, (1879) ;
Burgess, James: “Rock-temples of Ajanta,” Indian Antiquary, III, pp 269-74 (1874);
Burgess, James and Bhagwanlal Indraji, “Inscriptions from the Cave Temples of Western India”, Archaeological Survey of Western India, Memoirs, X, Government Central Press, Bombay, (1881);
Burgess, J.,”Report on the Buddhist Cave Temples and their Inscriptions,” IV, Archaeological Survey of W. India, London, (1883);
Griffiths, John, The Paintings in the Buddhist Cave Temples of Ajanta, Khandesh, India, I-II, W. Griggs London, (1896-97)
Weiner, Sheila, “Ajanta: It’s Place in Buddhist Art.” Berkeley, Los Angeles, London: University of California Press, (1977)
Schlingloff, Dieter, “Studies in Ajanta Paintings: Identifications and Interpretations.” Ajanta Publications, Delhi: (1987.)
It was then necessary to take into account the development in the Buddhist Sangha for adaptation of various new styles. Many of the caves have similar looks, but most important of all, the paintings of Ajanta retain most important place in the art, since the technique has been carried, shared by other Buddhist Caves at Bagh, Kanheri, Ghatotkacha etc. but the examples of paintings specially in Caves I and II of later period have reached their highest point in the creative Buddhist Art. That is the reason of believing that Ajanta was the fountainhead of paintings for centuries for the Buddhists. If we put aside the claim of Vakatakas, one can study the changes in Buddhist sculptures and architecture of Ajanta and other caves.
Unless we study the Buddhist way it is difficult to think about AJANTA, could you suggest something more?
See also
http://ajantawatch.blogspot.com/
http://ajanta-fountainheadofbuddhistart.blogspot.com/2009/11/ajnta-fountainhead-of-buddhist-art.html
http://ajanta-fountainheadofbuddhistart.blogspot.com/2009/11/ajanta-fountainhead-of-buddhist-art-2.html
