Buddhist Caves Radha Banerjee Emphasizes

Buddhist Caves Radha Banerjee emphasizes both the diversity and freedom of Indian art, in that it does not adhere to a specific religion. Instead, art in this country can focus on religion in terms of its evolution in a specific Indian location and paradigm. However, it does not do so from a religious viewpoint, but rather from a viewpoint that is free from religious doctrine.

As such, art expresses itself and can choose its subject as religion, while at the same time remaining oriented towards artistic expression rather than particular religious doctrine. Indian art therefore finds itself free from religious influence even while expressing religious development with particular objectivity. This is also true of "Gupta Art" (Banerjee) during the 4th - 6th Century AD.

This is the art form used in According to Banerjee, this type of artistic expression was also used in the rock-cut viharas and temples that can be found at Ajanta and Ellora, also known as the Buddhist caves. These caves were created under the patronage of the Vakataka King (Banerjee), and contain various Buddhist shrines and scenes in the form of pillared halls and cells depicting Buddhist concepts and images of the Buddha figure.

The caves are said to not only display one of the most excellent works of art in human history (NIC), but also to contain a "divine energy and power" that the visitor can sense when viewing the caves. The caves at Ajanta take the form of a horseshoe within a panoramic gorge. It consists of 29 caves, and exemplifies early Buddhist architecture, painting and sculptures. The Chaitya halls and shrines are dedicated to Lord Buddha, while the Buddhist monks of the time used the Viharas for meditation and study (NIC).

Specifically, the paintings at Ajanta contain the Jataka tales, which tell the story of the Buddha's previous incarnations as Bodhisattava. These are accompanies by sculptures of the serene Buddha contemplating the centuries as they pass. The Ellora cave temples and monasteries are located close to Aurangabad. The sculptures and rock carvings in these caves were inspired not only by Buddhism, but also by Jainism and Hinduism (NIC), substantiating Indian art as a vehicle for expressing a variety of religious principles, rather than being influenced by any single belief system.

Ellora contains 34 caves, with Buddhist Chaityas, Viharas, and Hindu and Jain temples. According to the NIC, the most magnificent work contained here is the Kailasa Temple in Cave 16, with its grand claim to being the largest monolithic structure in the world. As such, both Ajanta and Ellora were declared a World Heritage Site by UNESCO in 1983. According to the Buddhist Temple.com web site, the Ajanta caves bore witness to both the prosperity and decline of Hinayana and Mahayana Buddhism.

As such, the paintings, scriptures and architecture at this site depict some of the most beautiful art from both sects of Buddhism. In addition to depicting specific art from both sects, the caves also signify the transition from Hinayana to Mahayana. The former used stupas and other rock forms for depictions of Buddha, while Mahayana used idols. Specifically the older Hinayana sect is depicted in Caves 8, 9, 10, 12, 13 and 15, while 1, 2, 16, 17, 19 and 26 are distinguished.