Ajanta

Annotation. Volume Two begins with the contentious, yet challenging, views of Hans Bakker and Richard Cohen, both of whom are involved with an overview of Ajanta's development. This is explored further in shorter essays by Karl Khandalavala, Arvind Jamkhedkar, and Brahmanand Deshpande. At the same time, the author presents a detailed analysis of the form and development of Cave 26, as a model upon which his other arguments are built.

Annotation. Volume Two begins with the contentious, yet challenging, views of Hans Bakker and Richard Cohen, both of whom are involved with an overview of Ajanta's development. This is explored further in shorter essays by Karl Khandalavala, Arvind Jamkhedkar, and Brahmanand Deshpande. At the same time, the author presents a detailed analysis of the form and development of Cave 26, as a model upon which his other arguments are built.

Pauranic Prana-aesthetics, a finer shade different from that of vitalistic aesthetics )the earlier having breathing-rhythm of Ksaya-Vrddhi --diminuation and augmentation--other than the latter`s emphasis only on the rhythm of augmentation), has been delineated in this study with examples from the world`s two of the best art-monuments: Ajanta (India), now not remaining unknown even to the most casual connoisseur, and Sopocani (Yugoslavia), the most significant and monumentally beautiful work of Byzantine art. Tracing Prana-aesthetics as the aesthetics of inner-light coded in the creeper-motif by the artists of Ajanta, this work emphasises decoding of the creeper-motif by Byzantine artists culminating into the frescoes of Sopocani done in Hellenistic-Byzantine aesthetics beatifield by Hesycast meditation to which that of Buddhists was not unknown. Comparisons of various determinant aspects, aesthetics and artistic denominators, and constraints not allowing similar consummation are properly investigated to substantiate the thesis that Prana-aesthetics transfigures at Ajanta but transubstantiates at Sopocani. The significance of the anabolic aspects of this aesthetics is highlighted especially as a way out from the reductivistic tendencies of the present day visual-arts straining them upto the stage of catabolic dissolution.

There are as many regional flavors and dishes in India as there are languages and dialects, and no one knows this better than Lachu Moorjani, owner of Ajanta Restaurant in the San Francisco Bay Area.Widely recognized as the Bay Area's premier restaurant for Indian cuisine, Ajanta sets the standard with its ever-changing menu, offering creative dishes from the many regions of India. Ajanta represents one of the best places to experience a taste of India without leaving the country!

These photographs of the Ajanta cave complex are the indispensable complement to the text volumes of Ajanta: History and Development. With maps, timechart, ornamentation checklist, and numerous details of the art of Ajanta.

Volume Five comprises, along with introductory comments, two "cave by cave" guides. One which, very briefly, describes the character of each cave and its patronage, is intended to be useful for the general visitor to the site. The other, very detailed, discusses the position and peculiarities of each cave in relation to the overall, year by year, development of the site. This volume also contains a complete set of cave plans, and various illuminating charts, graphs, outlines, and maps.

Volume 7 of Walter Spink's monumental and still controversial study of the famous Ajanta caves considers the many connections between the Bagh caves and its “sister site”, Ajanta, particularly emphasizing the leading role that Bagh plays in the crucial matter of Buddhist shrine development and the transition from the aniconic to iconic forms of worship. He also explains the relationships between certain caves and solstices, as well as changing technologies, especially in the development of the door fittings in the monks’ cells.

This volume in Brill’s renowned Ajanta series discusses contentious views on Ajanta’s development, the often-dramatic changes in patronage, and the intriguing problem of why Ajanta’s original (Hinayana) caves were not refurbished by the Vakataka. A comprehensive appendix on Ajanta inscriptions is also included.