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Ajanta Caves

Ajanta Caves

The first Buddhist cave monuments at Ajanta date from the 2nd and 1st centuries B.C. During the Gupta period (5th and 6th centuries A.D.), many more richly decorated caves were added to the original group. The paintings and sculptures of Ajanta, considered masterpieces of Buddhist religious art, have had a considerable artistic influence.

Grottes d'Ajanta

À un groupe de monuments rupestres bouddhiques des IIe et Ier siècles av. J.-C. sont venues s'ajouter, à l'époque gupta (Ve et VIe siècles), des grottes ornées encore plus vastes et plus riches. Les peintures et les sculptures d'Ajanta sont des chefs-d'œuvre de l'art religieux bouddhique qui ont exercé un rayonnement considérable.

كهُف أجانتا

أُضيفت على مجموعة من النصب الصخرية البوذية العائدة للقرنين الثاني والأول قبل الميلاد كهوُف مزينة أكثر شسوعاً وغنى خلال حقبة غوبتا (القرن الرابع والخامس م.). وتُعتبر الرسوم والمنحوتات في أجانتا تُحفاً من الفن الديني البوذي ذات تأثير بالغ.

source: UNESCO/ERI

阿旃陀石窟群

阿旃陀最初的佛教石窟始建于公元前2世纪至公元前1世纪。公元5世纪至6世纪的笈多时期,更多精心修饰的石窟又被添加到原有的石窟群中。阿旃陀石窟的绘画和雕塑,是佛教艺术的经典之作,具有相当重要的艺术影响力。

source: UNESCO/ERI

Пещерные храмы в Аджанте

Первые буддийские памятники в пещерах Аджанты относятся к II и I вв. до н.э. Во времена правления Гуптов (V-VI вв.) много других, более богато декорированных пещерных храмов прибавилось к первоначальной группе. Росписи и скульптуры пещер в Аджанте признаны шедеврами буддийского религиозного искусства, имеющими огромное художественное значение.

source: UNESCO/ERI

Grutas de Ajanta

Este sitio comprende una serie de monumentos rupestres budistas de los siglos II y I, así como un conjunto de cuevas mucho más amplias y ricamente ornamentadas que datan del periodo gupta (siglos V y VI d.C.). Las pinturas y esculturas de Ajanta son obras maestras del arte búdico que han ejercido una influencia considerable en la producción artística ulterior.

source: UNESCO/ERI

アジャンター石窟群

source: NFUAJ

Grotten van Ajanta

De eerste boeddhistische grotmonumenten in Ajanta dateren uit de 2e en 1e eeuw voor Christus. Tijdens het Gupta tijdperk (5e en 6e eeuw) werden nog vele andere rijkelijk versierde grotten toegevoegd aan de oorspronkelijke groep. De grotschilderingen en beelden van Ajanta worden beschouwd als meesterwerken van de boeddhistische religieuze kunst. Deze twee monumentengroepen die overeenkomen met twee belangrijke geschiedkundige gebeurtenissen in India, tonen een buitengewoon bewijs van de ontwikkeling van Indiase kunst, evenals de bepalende rol van de boeddhistische gemeenschap. Ook hebben ze een aanzienlijke invloed gehad op overige kunst in India en omstreken, met name op het eiland Java.

Source: unesco.nl

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© Bruno Poppe
Long Description

The style of Ajanta has exerted a considerable influence in India and elsewhere, extending, in particular, to Java. With its two groups of monuments corresponding to two important moments in Indian history, the Ajanta cave ensemble bears exceptional testimony to the evolution of Indian art, as well as to the determining role of the Buddhist community, intellectual and religious foyers, schools and reception centres in the India of the Gupta and their immediate successors.

The caves are situated 100 km north-east of Ellora, 104 km from Aurangabad and 52 km from Jalgaon Railway Station. They are cut into the volcanic lava of the Deccan in the forest ravines of the Sahyadri Hills and are set in beautiful sylvan surroundings. These magnificent caves containing carvings that depict the life of Buddha, and their carvings and sculptures are considered to be the beginning of classical Indian art.

The 29 caves were excavated beginning around 200 BC, but they were abandoned in AD 650 in favour of Ellora. Five of the caves were temples and 24 were monasteries, thought to have been occupied by some 200 monks and artisans. The Ajanta Caves were gradually forgotten until their 'rediscovery' by a British tiger-hunting party in 1819.

The Ajanta site comprises thirty caves cut into the side of a cliff which rises above a meander in the Waghora River. Today the caves are reached by a road which runs along a terrace mid-way up the cliff, but each cave was once linked by a stairway to the edge of the water. This is a Buddhist community, comprising five sanctuaries or Chaitya-grihas (caves 9, 10, 19, 26 and 29) and monastic complex sangharamas or viharas. A first group of caves was created in the 2nd century BC: the chaitya-grihas open into the rock wall by doorways surmounted by a horse-shoe shaped bay. The ground plan is a basilical one: piers separate the principal nave from the side aisles which join in the apsis to permit the ritual circumambulation behind the (commemorative monument). This rupestral architecture scrupulously reproduces the forms and elements visible in wooden constructions.

A second group of caves was created at a later date, the 5th and 6th centuries AD, during the Gupta and post-Gupta periods. These caves were excavated during the supremacy of the Vakatakas and Guptas. According to inscriptions, Varahadeva, the minister of the Vakataka king, Harishena (c. AD 475-500), dedicated Cave 16 to the Buddhist sangha while Cave 17 was the gift of the prince, a feudatory. An inscription records that the Buddha image in Cave 4 was the gift of some Abhayanandi who hailed from Mathura.

The earlier architectural formulas were re-employed but treated in an infinitely richer and more ample manner. The decoration attained, at this time, an unequalled splendour: the statuary is numerous (it was already permissible to represent Buddha as a human; these representations are found both on the facades and in the interior). Finally, the wall painting, profuse and sensitive, constitutes, no doubt, the most striking artistic achievement of Ajanta.

Under the impulse of the Gupta dynasty, Indian art in effect reached its apogee. The Ajanta Caves are generally decorated with painted or sculpted figures of supple form and classic balance with which the name of the dynasty has remained synonymous. The refined lightness of the decoration, the balance of the compositions, the marvellous beauty of the feminine figures place the paintings of Ajanta among the major achievements of the Gupta and post-Gupta style and confer on them the ranking of a masterpiece of universal pictorial art.

Source: UNESCO/CLT/WHC