•   Location: Ajanta is a series of rock-cut caves in the Sahyadri ranges (Western Ghats) on Waghora river near Aurangabad in Maharashtra.

•   Number of Caves: There are a total of 29 caves (all buddhist) of which 25 were used as Viharas or residential caves while 4 were used as Chaitya or prayer halls.

•   Time of Development: The caves were developed in the period between 200 B.C. to 650 A.D.

•   The Ajanta caves were inscribed by the Buddhist monks, under the patronage of the Vakataka kings – Harishena being a prominent one.

•   NOTE: Vakatak dynasty and Gupta Empire were contemporary.

•   Reference of the Ajanta caves can be found in the travel accounts of Chinese Buddhist travellers Fa Hien (during the reign of Chandragupta II; 380- 415 CE) and Hieun Tsang (during the reign of emperor Harshavardhana; 606 - 647 CE). .

•   Painting: The figures in these caves were done using fresco painting. The outlines of the paintings were done in red colour. One of the striking features is the absence of blue colour in the paintings.

•   The paintings are generally themed around Buddhism – the life of Buddha and Jataka stories.
• •   The sculptures of Ajanta are among the finest ever made and reflect the exquisite qualities found in the paintings. The Parinirvana of the Buddha in Cave 17, with numerous celestial musicians above and the sorrowful figures of his followers below, is one of the grandest and yet most delicately expressive scenes ever made in stone.

•   UNESCO Site: The caves were designated a UNESCO World Heritage site in 1983.

•   The Gupta period is generally regarded as a classic peak and golden age of North Indian art for all the major religious groups.

•   The period saw the emergence of the iconic carved stone deity in Hindu art, while the production of the Buddha-figure and Jain tirthankara figures continued to expand, the latter often on a very large scale.

•   The traditional main centre of sculpture was Mathura, which continued to flourish, with the art of Gandhara, the centre of Greco-Buddhist art just beyond the northern border of Gupta territory, continuing to exert influence.

•   Other centres emerged during the period, especially at Sarnath. Both Mathura and Sarnath exported sculpture to other parts of northern India.

•   The vast majority of surviving works are religious sculpture, mostly in stone with some in metal or terracotta, and architecture, mostly in stone with some in brick.

•   The Gupta Empire produced large numbers of gold coins depicting the Gupta kings performing various rituals, as well as silver coins clearly influenced by those of the earlier Western Satraps by Chandragupta II.

•   The Ajanta Caves are virtually the sole survival from what was evidently a large and sophisticated body of painting.

•   Kushans blended the traditions of the Greco-Buddhist art of Gandhara, influenced by Hellenistic artistic canons, and the more Indian art of Mathura.

•   The first known representations of the Buddha seem to appear before the arrival of the Kushans, as shown with the Bimaran casket.

•   The style of Kushan artworks is stiff, hieratic, and frontal. Anatomy and drapery are stylized in the early period.

•   Chalukyas ruled large parts of southern and central India between the 6th and the 12th centuries.

•   During this period, they ruled as three related yet individual dynasties.

o  Chalukyas of Badami

o  Chalukyas of Kalyani

o  Chalukyas of Vengi

•   The earliest dynasty, known as the Badami Chalukyas, ruled from Vatapi (modern Badami) from the middle of the 6^th century.

•   In the western Deccan, the rise of the Rashtrakutas in the middle of the 8^th century eclipsed the Chalukyas of Badami.

•   The Badami Chalukyas began to rapidly rise to prominence during the reign of Pulakeshin II.

•   After the death of Pulakeshin II, the Eastern Chalukyas became an independent kingdom in the eastern Deccan.

•   They ruled from Vengi until about the 11^th century.

•   The western Chalukyas ruled from Kalyani (modern Basavakalyan) until the end of the 12^th century.

•   The rule of the Chalukyas marks an important milestone in the history of South India and a golden age in the history of Karnataka.

•   Aihole: Aihole inscription is associated with the Chalukya dynasty.

o  It was written by Ravi Kirti, court poet of Chalukya King, Pulakeshin II who reigned from 610 to 642 A.D.

o  Located at Meguti temple in Aihole, Karnataka the inscription speaks about the defeat of Harshavardhana by Pulakeshin II.

Chalukyan Administration:

•   The Government was modelled after Magadha and satavahana.

•   King’s chief queen was called Tattamahish and Prime minister was called Mahamatya.

•   Empire was divided into villages called Visha whose chief was called Vishayaka.

•   Revenue collection officer was known as Pattaiika.