This cave has a Chaitya gathering hall. There are two early paintings,
Frieze Of Animals And Herdsmen
Giant Horseshoe Window
There is a Giant Horse-Shoe Window on the façade.
The carving of this window suggests that it copied a wooden structure
of the same time. The pillars and the slanting eight-sided columns are
also copied from wooden structures of earlier times.
This is of about the same time as cave 9. It has a similar shape.
The large chaitya gathering hall is 28.5m X 12.3m wide and 11m high.
It has a stupa shrine at the ambulating passage around the symbolic
King With His Retinue:
The paintings in this cave show resemblance with the relief carvings
at sanchi in central India of the 2nd century B.C. The painting on the
left wall shows the King with his Retinue, worshiping the Buddha tree.
The royal party stops at the stupa and then passes through a gateway.
On the right wall are the series of large wall paintings. One shows
the Shada-danta jataka, with the Buddha in his elephant incarnation.
This is a crowded scene, but each figure is clearly distinguished from
the other. The whole crowd is in movement.
ELEPHANTAS IN JUNGLE:
In one scene are shown Elephantas in the jungle, with a six-tusked elephant,
which is supposed to be a previous incarnation of the Buddha. The animals
are beautifully drawn and the large space of the forests, with its thick
foliage and trees, is contrasted to the houses on the side.
PRINCESS AND TUSK:
In the second scene, the princess, seated on a stool, is shown fainting,
because the six tusks of the elephant are brought to the king. The queen
has wished that the elephant be killed. Now that his tusks are brought
before the court, she faints at sight of them. The drama is manifestly
THE BUDDHISATTVA ON THE PILLAR:
One of the earliest masterpieces of the 1st century B.C. or 1st century
A.D. has the simplicity, tenderness and grace of the early archaic art
of Ajanta. The gracious figure in the pink and buff cloak surrounded
by green aureole is emerging to cast blessings on mankind. Two monks
kneel by his feet and the flying angels above his black head indicate
that they are going to lift him to heaven. The umbrella on the top is
symbolic of the protection he offers to all.
BUDDHA AND THE ONE-EYED MONK:
The painting Buddha and the one-eyed-monk show the devotion of the followers
of the Enlightened one. The face and figure of the Buddha here as well
as of the monk seem to be echoes of the heavy physical types of Gandhara
art of northwest India. Only the flowing draperies have softened their
contours. The aureole on the buddha's head and the closed eyes show
a dreamy calm.
The Shyama-Jataka on a wall in this cave relates the story of where
the bodhisattava was born as son of two blind parents, a hunter and
TRANSITION FROM HINAYANA TO MAHAYANA:
The Buddha in shrine of cave 11 is one of the earliest images at Ajanta.
The important fact about this Buddha is that it is attached to a stupa.
This means a compromise between stupa worship and image worship.
This cave is interesting, because it shows the transition from the earlier
Hinayana to the later Mahayana Buddhist phase of worship. The round
stupa has the images of the Buddha to its bare girth.