Ajanta Cave-1
Cave-1 is one of the finest examples of vihara artchitecture evolved towards the end of the fifth century. The facade is lavishly ornamented, its beauty enhanced by six richly carved columns on the verandah Their shafts are adorned with tracery-work and the bracket capitals have flying figures. The ornate doorway leaps into a big hall, 19.5 metre (64 ft.) square. An aisle is formed by a colonnade of pillars as adorned as those on the verandah (the two middle ones in the back row are the best). On these sides there are rows of cells. Beyond the ante-chamber facing the entrance is a huge Buddha image grouped with the Master's first five disciples and others. One central pillar in the right row has a curious carving done with remarkble realism; four deer in different positions have a single head which seems to belong to each one. The entire wall space and ceiling as also the pillars in this cave had once been painted. Much of the work has peeled off, but enough of great value has survived. This includes a few masterpieces,
The paintings mainly illustrate Jataka. stories. A typical one, at the left of the main entrance, has been identified with Sibi Jataka. The story goes that a pigeon, chased by a hawk, sought the protection of King Sibi, who was a Bodhisattva. The hawk came in pursuit and demanded its lawful prey. King Sibi struck bargain to save the little bird's life. He gave the hawk a measure of his own flesh equal to the bird's weight. The pigeon is seeh here in the king's lap (extreme left), and beyond a pavilion the king stands by a pair of scales (right). The side-walls of the ante chamber present remarkable scenes from the Buddha's life in large-scale compositions. The one at the left visualizes a moment when Gautam, at the end of seven years of Seeking. was about to attain Enlightenment. Even since the time he had left his palace and taken to the ascetic's life Mara, the Evil one, had been at his heels. "Turn back", Mara had bidden, "the jewel wheel of empire will be yours". Since Gautam scorned the pro spect, Mara had made the threat, Whenever you have a bad thought I shall know For seven years, Mara had followed Gautam like his shadow and when it appeared that the supreme moment was near, Mara, in alarm made one more bid. He let loose the force of seduction, his own beautiful daughters dis porting themselves before the ascetic.
The composition on the right wall is the "Miracle of Sravasti". Here the Buddha has turned himself into hundreds of
Buddhas in different attitudes.
The wall of the back corridor, to the left and right of the ante-ch amber, contains two maj estic Bodhisattvas which are among the Ajanta masterpieces. The one to the left is Padmapani. His eyes are lowered medi tatively: his face has dep ths of spiritual calm born of compassion for all liv ing forms. This great pic ture has fascinated the art-crtics of many coun tries. Beside the Bodhisattava is his attractive wife, a dark beauty who had featured often in Ajanta reproductions. The left corner of the composition has divine figures and at the right, monkey's and pecocks are seen joyous frolic.
The other Bodhisattvas. Vajrapani, is richly bejewelled. He leans gracefully against an attendant. A king offers him flewers, At the bottom are two dark women, and though the paint has largely peeled off the delicacy of treatment is obvious.
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