Ajanta :Fountainhead of Buddhist Art 2

GENERAL FUNDING FOR THE EXCAVATION OF BUDDHIST CAVES
Kings, their feudatories and zamindars and also commoners patronised Buddhism in the two or three centuries before and after Christ. Excavation of a cave was regarded as a means of securing a place in heaven. Several men and women gave gifts recorded in inscriptions incised, painted on pillars , paintings, railings and other parts of the stupas, caves, caityas and rock cut viharas. We find people of various races, casts and profession, such as Bhadantas, Pravarajikas, grihapatis, sarthvahanas, halikas, Shreshtins etc. As the hills of Maharashtra were very suitable for excavation, people from far off places got caves carved and donated them to Buddhist communities. We learn from the inscription that the grand Chaitya Griha at Karle was regarded as the best in Jambu Dvipa (Bharata) was got excavated by the Shreshtin Bhutapala of Vaijayanti (vanavasi) in North Kannada District. It is not surprising that several donors from such nearer places are mentioned in inscriptions in the caves in Maharashtra – Karhada (Karahata), Dhenukata , Surparaka (Sopara), Kaliana (Kalyan), Chemula (Chaul), Vasya (Vasai), Sthanaka (Thane) etc.
Both the Satavahanas and the Kshtrapas gave liberal patronage to Buddhism. Various Satkarni Kings donated to the monks at Nasik, Kanheri, Karle and other places. So did their feudatories and zamindars, grihapatis who were known as Mahabhojas and Maharathis. For instance, we find mention of Mahabhoja Skandapalita, son of Mahabhoji Vijaya in and Inscription at Kuda, Maharathi Kausikiputra in another at Bhaja.
At Pitalkhora and Kolhapur, the archaeological finds of very early Buddhist relics reveal that the wondering Buddhist Bhikshus found Deccan suitable for their organization. The most dynamic period was from about first century AD till end of the fifth century. The Buddhism, though the Acharya Sangha at various centres, with Ajanta as the focal point for centuries, inspired the Buddhist Art at Khotan, Turfan in China, Combodia, Korea, Japan and also the frescoes at Shri Lanka. Ajanta caves have been linked with the late Bagh paintings, the seventh century paintings at Sittanvasal in former Pudddukotai (nearly Pallava period), the eighth century Kailash Frescoes at Ellora ( Rashtrakuta dynasty) and even with the seventh to ninth –century wall paintings of Chinese Turkistan. The causes of collapse of Ajanta have not been clearly determined. The reasons might well be very same social and economic conditions, which gave life and birth to its glorious tradition. As far as Ajanta caves temples are concerned, the heart of this social and economic system was Paithan. This important centre, barely a hundred kilometres from the monasteries was frequently visited be wealthy merchants who carries large amount of trade that fed to the ports of West coast. During the early centuries, these ports were developed into flourishing commercial centres and were famous with the names in Pali Bharukacha, Surattha and the famous Sopparaka along with Kaliyan and Thana. These were indispensable links in the chain of trade centres, which prospered in the hinterland and on the Paithan –West Coast highway.
A donation did not at all mean an order to make a cave according to one’s (donor’s) choice. The most important characteristic of the Buddhist art in India is that it never depended entirely of the Royal patronage. The common man, whether rich or poor, has always shared the burden of the Buddhist Art. The democratic idea laid down by Buddha had also crept into the field of the Buddhist Art which has always been ‘ an art of the people, by the people and for the people”.
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See also http://ajantawatch.blogspot.com/
and earlier http://Ajanta :Fountainhead of Buddhist Art 1.blogspot.com/