Visit to Anjanta& Ellora Caves as told By Dr Raghuram - Courtesy Dr. Murali Mohan

 

Just came back after an enthralling sojourn at Ellora and Ajanta. After spending more than two hours savouring the majestic Kailasa temple, we made our way to other caves. Amongst them Cave 10 stands out an enchanting edifice. It is also called The Vishwakarma Cave and is locally known as the Sutar-ka-jhopra (Carpenter's hut). Constructed around 7th century AD, this is the only chaitya in these series of caves in Ellora.

Once we entered the massive cave, we were overwhelmed by its sheer architectural beauty. The apsidal hall is quite long and at the far end of the cave was a huge stupa with a simple circular base, hemispherical dome and a square structure on top. In front of it is a colossal Buddha seated with the Dharmachakra mudra. Dharmachakra mudra holds deep metaphysical significance in Buddhism. It embodies the union of method (Upaya) and wisdom (Prajna), which are essential in pursuing enlightenment. By positioning the hands in front of the heart or the left side of the chest, the mudra signifies teachings emanating directly from Buddha's compassionate heart. A large Bodhi tree is carved at the back and on both sides are the attendants. The outstanding feature of the chaitya is it’s a vaulted roof in which ribs (known as triforium) have been carved in the rock imitating the wooden beams. Even the wooden pins at the joints of beams and lintels have been carefully sculpted in stone.

There was hardly anyone around and the guide asked us to stand with our back aligned to the stone pillars. He then stood in a corned are slowly started chanting, “Buddham Charanam Gachchami” in a soft, low voice. The rhythmic, repetitive chanting reverberated in a magical way in the vast hall and we were immersed in that hypnotizing soundscape. We could feel the vibration of the mellifluous chants cruising through the stone pillars, energizing us. It was not merely a vibrant realm of sacred sounds but a sonic journey that unlocked the doors within.  

The first cave one comes across in Ajanta is cave 1. It is not the first one built chronologically and perhaps the last one to be completed. It is the first cave one encounters when approaching the complex from the north side of the horseshoe-shaped cliff. The construction of the cave started around 466 CE and there were several disruptions. Emperor Harisena of the Vakataka  dynasty played a crucial role in executing it.

As we entered the cool, dark interior of the cave, our attention was drawn to the colossal sculpture of the Buddha in the sanctum. He is seated on a throne in the padmasana, with his hands in the Dharmachakra Mudra. Dharmachakra in Sanskrit means the 'Wheel of Dharma'. This mudra symbolizes one of the most important moments in the life of Buddha, the occasion when he delivered his first sermon after his Enlightenment in the Deer Park at Sarnath.

On the left wall adjoining the sanctum is the painting of Padmapani. It is perhaps one of most iconic paintings of Ajanta and has adorned the walls of many houses. I stood in front of it, totally transfixed, devouring as much as I could of its stately elegance. Padmapani, the bearer of the lotus is portrayed holding the flower in his right hand. There is an unbroken flow of the body which is gracefully inclined slightly to the right side. The left-arm is tied with a ribbon. A high crown adorns his head and around his neck is a pearl necklace. There is a long string of jewellery over the left shoulder, falling across the chest. The long, sharp nose, highlighted  with warm colours and inward shading, enhances the serene beauty of his face.

I closed my eyes for a moment and then looked at the deeply introspective, lotus-shaped, half-closed eyes. This is often referred to as the ‘adamantine’ gaze. I wonder whether through his half closed eyes, Padmapani is urging us to withdraw our awareness from the distractions of the outside world and look within, indicating that all the answers we seek are inside us. I was immersed in the overwhelming aura of boundless compassion radiating from Padmapani’s visage and it was difficult to prise myself away from the celestial painting.  As I was leaving the cave, I was reminded of Rumi’s counsel, “Listen with ears of tolerance. See through the eyes of compassion. Speak with the language of love”