A UNESCO World Heritage Site, the 30 extraordinary rock-cut caves at Ajanta lie within a horseshoe-shaped escarpment, overlooking the narrow Waghora river gorge. At its head is a waterfall that drops into the Saptakunda pool. The caves were occupied for only a short period and, over time, the surrounding jungle concealed their existence. They were “rediscovered” quite accidentally in 1819, when John Smith, of the 28th Madras Cavalry, suddenly saw the top of the façade of Cave 10 while on a tiger hunt.

Ajanta’s caves fall into two groups. The early group belongs to the more austere Hinayana phase of Buddhism (2nd–1st century BC), during which the Buddha was not represented in human form but only by symbols such as a Wheel of Law or a Bodhi Tree. The second group dates from the Mahayana period (5th–6th centuries AD), carved out during the rule of the Vakataka dynasty, when artistic expression was more exuberant. The caves were inhabited by monks, artists and craftsmen, who used them as varsh-vatikas  or monsoon shrines. Stylistically they are of two types – chaitya grihas  (prayer halls) and viharas  (monasteries). The chaityas  have vaulted ceilings and octagonal columns that divide the space into a central hall with a votive stupa, the object of veneration. The side aisles that run around the hall were used for ritual circumambulation. The Mahayana chaityas  also have Buddha images. Viharas  typically have a verandah, a hall surrounded by cells, and an inner shrine with enormous Buddha figures.

Of the seven Mahayana caves, dating from the 5th century AD, Cave 1  is famous for its splendid murals. Above its verandah are friezes of scenes from the Buddha’s life, while its ceiling is supported by 20 carved and painted pillars. Cave 2  has a superb façade carved with images of Naga kings, and their attendants (ganas) , while its main shrine has a magnificent painted ceiling.

Caves 8, 9, 10, 12, 13 and 15 are Hinayana caves. Cave 9 , a chaitya griha , has a façade adorned with windows and lattice-work. The large Buddha figures along the sides were a later addition (5th century) and its murals are from both periods. Cave 10  is thought to be Ajanta’s oldest cave and is one of its finest chaitya grihas. 

Caves 15 to 20 are late 5th-century Mahayana caves. Cave 16  has sculptures of beautiful maidens flanking the doorway, while in Cave 17  the entrance to the inner shrine is ornamented with Buddha figures, goddesses and lotuses.

Caves 21 to 27 (7th century), make up the final group. Cave 26  displays the full magnificence of Ajanta’s sculptural art. Especially remarkable are two splendid panels – one depicts the Temptation of the Buddha by the Demon Mara, while the Parinirvana  is a 7-m (23-ft) image of the reclining Buddha, with his eyes closed as if in sleep. His disciples mourn his passing, while above, celestial beings rejoice in his salvation.