CHH. SAMBHAJI NAGAR

The Ajanta Caves are a group of 30 rock-cut Buddhist monuments built in two phases: the Hinayana phase (1st century BCE to 3rd century CE) and the Mahayana phase (3rd to 6th century CE). Carved into a horseshoe-shaped cliff around the Wangora River, they served as monsoon retreats for lamas.

The caves were patronized by dynasties like the Satavahanas, Vakatakas, and the Guptas, and remained in use until the 8th century CE. They were rediscovered in 1819 by British officer John Smith. Preservation work began much later in 1999 by the Archaeological Survey of India. Early documentation was done in the 1840s by Major Robert Gill and later by John Griffiths and Ghulam Yazdani.

Five caves (9, 10, 19, 26, and 29) are chaitya-grihas (prayer halls), while the others are viharas (monastic dwellings). Early Hinayana caves like Cave 10 feature stupas and carved wooden-like rafters. The murals depict Jataka Tales and early Buddhist iconography. 

In the 5th–6th centuries CE, under Vakataka king Harishena, Ajanta saw peak activity. Cave 16 was donated by his minister Varahadeva, and Cave 17 by a loyal prince. Though Hieun-Tsang did not visit, he noted a thriving Buddhist presence in the 7th century. A Rashtrakuta inscription in Cave 26 suggests use into the 8th–9th centuries.

The second construction phase introduced more focus on Buddha imagery in sculptures and paintings. Caves 1, 2, 16, and 17 contain murals with Jataka tales, scenes from Buddha’s life, and social themes. These paintings feature geometric and floral ceilings and a mix of expressive and rigid figures.

The Ajanta murals were painted on dry surfaces using a multi-layered technique. The rock surface was first roughened, then coated with layers of earth, sand, and organic material, followed by a lime wash. Artists used natural pigments like ochre, lamp black, and lapis lazuli, with glue as a binder. Though often called frescoes, they are not true frescoes. The paintings feature bold outlines, depth through shading, and expressive figures. Women are shown with elegant postures, while men appear as ascetics or sants. Guilds of artists likely created the murals under monastic supervision.

The murals from the first phase primarily use shades of ochre, while those from the second phase feature a broader palette of colors, including yellow, red, white, black, and green. The pigments were likely sourced from local volcanic minerals, with the occasional use of lapis lazuli indicating trade. The murals’ style has had a lasting influence on Central Asian and East Asian art, especially in manuscript paintings in China and Japan. These murals are more than artistic representations; they also served as an educational tool, illustrating key Buddhist concepts, such as the impermanence of life.

The Ellora Caves, a UNESCO World Heritage Site, include 34 rock-cut monuments, out of which 17 are Hindu, 12 Buddhist, and 5 Jain. Spanning nearly 2 km, the site is arranged with Buddhist caves to the south, Hindu in the center, and Jain to the north. Some structures lack roofs and are not true caves.

Ellora sits on an ancient trade route connecting Pratishtana, Aurangabad, and Nashik. The area has been inhabited since the Upper Palaeolithic period. The caves were carved from Deccan basalt, which is ideal for sculpting. Builders used natural joints in the rock to ease excavation. Most caves were built during the Rashtrakuta Dynasty (753–982 CE), while the Yadava Dynasty (1187–1317 CE) completed several Jain caves. Earlier contributions came from the Traikutakas, Vakatakas, Kalachuris, and Chalukyas. Patronage came from rulers, traders, and wealthy donors.

Cave 16 is home to the Kailash mandir, the largest single monolithic rock excavation in the world. This chariot-shaped monument, dedicated to Shiva, features sculptures of Hindu devatas and relief panels depicting the two major epics, the Ramayana and the Mahabharata.

The Kailash mandir at Ellora was carved top-down from a single rock using only hammers and chisels. Built mainly during the reign of Rashtrakuta king Krishna I (c. 756–774 CE), it indicates Pallava and Chalukya influences. The mandir includes large reliefs and sculptures, with traces of original paintings. Some reliefs resemble those in Cave 15, linked to Dantidurga (c. 735–756 CE). Architecturally, the mandir represents the cosmos (Brahman) as a unified whole, with each part symbolizing the aatman.

Though no inscriptions confirm it, the Ellora Caves are believed to have been initiated by the Kalachuris of Mahismati and the Chalukyas of Badami. Most Brahmanical and Buddhist caves were built under the Rashtrakutas, while the later Jain caves, with fragmentary inscriptions, are linked to the Kalyani Chalukyas and Yadavas of Devgiri. The site reflects a long history of religious coexistence. Unlike Ajanta, Ellora remained known due to its location on trade routes. It was documented by 10th-century Arab geographer Al-Mas’udi and later by visitors like Thevenot, Manucci, and Charles Warre Malet. In 1352, Sultan Hasan Gangu Bahmani repaired roads to the site. During the 19th century, the Holkars of Indore controlled the caves, followed by the Nizams of Hyderabad, who supported repairs. Today, the Archaeological Survey of India manages the site.

The Aurangabad Caves are a collection of artificially rock-cut caves located approximately 8 km from the railway station and 3 km behind the iconic Bibi ka Maqbara, overlooking the Dr. Babasaheb Ambedkar Marathwada University campus. Although overshadowed by the more famous Ajanta and Ellora Caves, this 2000-year-old group of caves silently witnessed the city’s ancient history and its gradual transformation into a modern and vibrant hub. The caves lack inscriptions, making their dating and origin challenging. As a result, scholars rely on comparative studies, drawing parallels in themes, architecture, sculptures, and pillars with other similar cave mandirs.

An inscription at the Kanheri Caves mentions a small kuti (mandir) and kodhi (hall) built at a vihara in Sevaja, near present-day Aurangabad, confirming early activity at the site. A chaitya resembling Ajanta’s Cave 9 survives, likely from the 1st century CE; the vihara has collapsed due to fragile basalt rock.

Aurangabad’s caves are grouped into the Western (Caves 1–5), Eastern (Caves 6–9), and Northern Cluster (Caves 9–12). Caves 1 and 3, from the Vakataka period, resemble Ajanta’s Caves 21 and 24 in layout. Caves 2 and 5 are distinct, with central shrines detached from the back wall. Cave 3, a large Hinayana chaitya-griha, includes a spacious verandah and monastery. Excavation in the area was limited by the rock quality; the remaining caves are mostly attributed to the Kalachuris.

Cave 7 stands out for its elaborate sculptural decorations. Its plan includes a central shrine with a circumambulatory path and an outer corridor featuring recesses carved with various Buddhist gods and goddesses. The front wall of the verandah showcases a beautifully detailed panel depicting a series of Avalokitesvara and Bodhisattva figures on either side of the shrine’s entrance. This representation of Avalokitesvara is particularly elaborate compared to similar examples found at Ajanta and Ellora Caves. The Aurangabad Caves, with their distinct architectural styles and historical connections, provide a fascinating insight into early Buddhist monastic life and the region’s cultural development.

Sambhaji Nagar is known for its traditional crafts such as Paithani silk saris, Himroo shawls, and Bidriware, which are valued for their fine craftsmanship and cultural significance.

Paithan, a major textile center since the 2nd century BCE, saw the peak of Paithani sari production in the 17th century CE. Linked to royal patrons like Aurangzeb, the Peshwas, and the Nizams, Paithani saris are made with fine silk and pure zari. The sari received a GI tag in 2010. Earlier, silk came from Bangalore or Mysore, and zari from Surat. Dyeing and weaving took place in Paithan, with local guilds managing production. Organic dyes were once used, but chemical dyes are now common. While traditional dyeing has declined, the Maharashtra government implements programs that actively train weavers.

A regular six-yard Paithani sari requires about 500 grams of silk and 250 grams of zari, with nine-yard versions using even more materials, sometimes weighing up to 900-1,500 grams. The time to create a Paithani sari varies based on the complexity of the design, ranging from six months to two years. The sari’s body is woven without extra weft-formed figures, with the figuring achieved through plain tapestry techniques. The lustrous weave of a Paithani sari creates a captivating interplay of colors, giving the illusion of shifting hues. 

Each motif in the Paithani embodies 2000 years of tradition, reflecting not only human culture but also a deep connection with nature’s elements. They also influenced the architecture of the Wadas, with similar motifs being used in brackets and arches. Traditional motifs include parrots, peacocks, and lotuses, which gained prominence during the Peshwa period. The pallu often features the Muniya parrot motif, outlined in green with a touch of red at its mouth, along with other designs like the Panja (a geometric flower-like motif), Barwa (a ladder pattern), and the classic peacock.

In an interview with Vogue India, designer Gaurang Shah shared his experience of weaving a Paithani sari with the Calico Museum of Textiles in Ahmedabad. He described how the team of weavers explored new techniques to achieve finesse by drawing patterns and mastering motifs. He also recounted the story of a Jamdani Paithani collection, where 100 kilos of yarn in various colors were required to meet the design’s specifications. Thus, revered as the ‘queen of saris’ in Maharashtra, Paithani saris are essential for auspicious occasions and celebrations, much like the Kanchipuram Sari in the South.

Himroo is a fabric made with a silk weft and cotton warp, introduced in Aurangabad during Muhammad bin Tughlaq’s reign. The name comes from the Persian ‘hum-ruh,’ meaning ‘similar,’ as it was a more affordable alternative to kimkhwab, a brocade woven with silk and gold for royalty in the 14th century.

When Muhammad bin Tughlaq moved his capital to Daulatabad, many craftsmen followed. While the capital later returned to Delhi, most artisans stayed and continued weaving for royalty. Some historians trace Himroo’s origins to Persia, while others view it as locally developed. Marco Polo described Himroo as “as fine as a spider’s web,” suited for kings and queens. Himroo later gained patronage from the Mughals and the Nizam. It features repeating motifs such as geometric shapes, fruits, flowers, creepers, and animals. Dark base colors like black, slate, or mustard are contrasted with lighter shades like pink, white, red, and yellow.

Today, Himroo is used to make shawls, bedsheets, curtains, decorative tapestries, pillow covers, skirts, and accessories such as purses and neckties. It is primarily woven in Sambhaji Nagar, where the Government of India has established several weaving and training centers. While the demand for Himroo fabric has grown over the years, particularly among tourists, the number of active weavers in the region continues to steadily decline.

Bidriware is a metalcraft that began in Bidar, Karnataka, during the 14th–15th centuries under the Bahamani Sultanate. Influenced by Persian art, it later incorporated Arabic, Turkish, and local styles. It received a GI tag in 2006.

Typically, Bidriware follows an intricate eight-step process, requiring high skill and precision.

• Moulding: The base object is first cast in a mould, typically made from an alloy of zinc and copper. This forms the foundation for the piece, which can be a plate, bowl, or other decorative item.
• Smoothening: After the base is formed, it is smoothened using a file to remove any rough edges or imperfections, ensuring a clean surface for the detailed inlay work that follows.
• Designing: Once the surface is smooth, the artisans use chisels to outline the design, often consisting of floral or geometric patterns. These designs are etched lightly onto the surface to create grooves for the next step.
• Engraving: The artisans deepen the engraved designs using chisels and a hammer. This creates precise indentations in which silver will later be inlaid.
• Silver Inlaying: Thin strips or wires of pure silver are carefully inserted into the engraved grooves. The silver inlays are positioned with precision to form the intricate patterns.
• Re-smoothening: After the silver inlays are placed, the surface is smoothened again to ensure the silver is flush with the metal base and the surface is even.
• Buffing: The piece is then buffed to a fine shine using a soft cloth or tool, which helps reveal the polished surface and enhances the contrast between the silver inlay and the dark base.
• Oxidizing: Finally, the object undergoes an oxidation process, where it is treated with a mixture of soil and ammonium chloride. This gives the bidriware its characteristic dark finish, which contrasts beautifully with the shining silver inlays.

In Sambhaji Nagar, Bidriware was initially introduced in the region by the Nizams of Hyderabad, as it was a part of the Nizam’s reign. The region was already known for its art and culture; hence, Bidriware mingled with local influences. The artisans in Sambhaji Nagar make patterns and motifs inspired by the Ajanta paintings, especially the Padmapani design, which has become popular with tourists.

Wali Muhammad Wali, also known as Wali Dakkhani or Wali Aurangabadi, is considered the ‘Father of Urdu Poetry.’ He was the first major poet to write Urdu ghazals and compile a divan. In 1700 CE, his visit to Delhi and his Urdu verses influenced northern poets like Zauq, Mir Taqi Mir, and Mirza Rafi Sauda, helping establish Urdu as a literary language.

Although Wali experimented with various verse forms, including masnavi, qasida, mukhammas, and rubai, the ghazal was his specialty. He wrote 473 ghazals with 3,225 couplets. Wali’s simple, sensuous, and melodious Urdu poems awakened the Persian-loving poets of Delhi to the beauty of the language and its poetic potential. He was a trendsetter in classical poetry and played a key role in establishing the Urdu ghazal tradition in Delhi.

His favorite theme was love, both mystical and earthly, and his tone was characterized by cheerful affirmation and acceptance, rather than melancholy. Notably, Wali was the first Urdu poet to express love from the male perspective, breaking with the tradition of impersonating a woman. He skillfully blended the native ‘Aam Boli’ (common speech) with Persian vocabulary and imagery, helping to shape modern Urdu poetry. As such, Wali can be considered the architect of a poetic language that combined the richness of both native and Persian influences.

Syed Sirajuddin, known as Siraj Aurangabadi, was a mystic poet who wrote in both Persian and Urdu. He began with Persian poetry and later composed extensively in Urdu. His divan contains over 5,000 shairs (couplets), though much of his work was lost. In addition to ghazals, he also wrote long narrative verse.

Siraj Aurangabadi played a significant role in bridging the old and new styles of the Deccan school of poetry. The central theme of his work is divine love, and throughout his life, he sought to explore and understand the mysteries of divinity in both direct and metaphorical terms. His divan reflects his metaphysical and mystical concerns, shaped by his awareness of the physical and the supernatural, the secular and the religious. His poetry, marked by rare lyricism, engages deeply with the self and its existential questions. In 2020, Pakistani musicians Abida Parveen and Ali Sethi paid tribute to Siraj by performing his ghazal ‘Khabar-e-Tahayyur-e-Ishq.

Dr. Dulari Qureshi is an academic, art historian, and author with over 1,000 articles to her name on topics related to art, culture, tourism development, and the impact of tourism on monuments. A retired professor and director in the Department of Tourism Administration at Dr. Babasaheb Ambedkar Marathwada University, she has made significant contributions to the fields of tourism and heritage. One of her notable achievements is the discovery of inscriptions at the Pitalkhora Caves, located near Sambhajinagar, which she has actively worked to promote as part of the region’s heritage.

In addition to her work as a historian, Qureshi is also a passionate history activist. She played a crucial role in urging the ASI to undertake essential conservation measures at the Ajanta Caves, including rock buttressing, waterproofing, and the chemical conservation of several frescoes. Through her efforts, Dr. Qureshi has had a lasting impact on the preservation of India’s cultural heritage.