This article explores the extensive work of Dr. David S. Efurd, an accomplished scholar who has spent decades meticulously documenting over eighty Buddhist cave sites across western India. His profound dedication has resulted in an archive of more than 10,000 photographs, offering a comprehensive visual record of these ancient monasteries. Accessible through Artstor, this collection provides invaluable insights into the religious art, architectural details, and sacred spaces carved into volcanic basalt cliffs, some dating back to the second century BC. Dr. Efurd's approach, characterized by 'slow looking,' allows for a deep understanding of these sites not just as historical monuments but as living expressions of faith.
Dr. Efurd's fascination with early Buddhist monasteries began a quarter-century ago, sparked by an introduction to the Ajanta caves by Walter Spink, a leading authority on the subject. His initial visit to Pitalkhora, a lesser-known but historically significant site, captivated him and ignited a lifelong passion for exploring these ancient rock-cut structures. This enduring interest has driven him to revisit and continuously study these sites, uncovering their intricate details and profound historical narratives.
The strategic selection of these cave locations was influenced by a confluence of factors, including the region's unique geographical and geological characteristics. Western India's abundant volcanic basalt formations provided an ideal medium for carving massive, durable structures. These natural shelters were particularly vital for monks during the 'vassa,' the monsoon season, offering a stable residence. However, these sites were not chosen for complete isolation; their proximity to trade routes and local villages fostered a symbiotic relationship between the monastic and lay communities, where spiritual guidance was exchanged for sustenance and support.
A striking aspect of these ancient constructions is the deliberate integration of natural light. Walter Spink's research revealed that some caves at Ajanta are precisely aligned with the winter solstice, allowing sunlight to dramatically illuminate Buddha images within. Similarly, at Ellora, a smaller aperture filters light onto the face of a carved Buddha, an extraordinary feat of ancient engineering celebrated annually during the Kirnotsav festival. Even in earlier caves, the interplay of light and shadow transforms the interiors, creating profound effects, particularly around sunset.
The caves offer a unique window into the daily lives of monastic communities. Beyond the grand, ornate structures, many modest spaces served as living quarters for monks, featuring rock-cut beds and simple chambers for meditation. Inscriptions and seating arrangements indicate communal refectories, while cisterns and tanks highlight practical solutions for survival during and after the monsoon season. These details reveal the functional and communal aspects of monastic life, showcasing the ingenuity and adaptation of the early Buddhist communities.
The artwork within these caves is rich with symbolic and philosophical meaning. While early sites often lack direct Buddha images, later caves from the fourth or fifth century CE prominently feature Buddhas and Bodhisattvas. Earlier caves display symbols like railings denoting sanctity and the 'Triratna,' representing refuge in the Buddha, Dharma, and Sangha. A prevalent motif is 'mithuna,' amorous figural groupings symbolizing fertility and abundance, often integrated alongside depictions of nature spirits like 'yakshas,' signaling their reverence for the Buddha and acceptance of Dharma.
With the gradual decline of Buddhism in India, the role of these monasteries underwent significant transformation. Many early sites were reoccupied and refurbished, with paintings and sculptures of Buddhas and Bodhisattvas added to previously unadorned areas. Remote sites like Ajanta were eventually abandoned, while more accessible ones, such as Karle, were reappropriated by Hindu communities. Buddhist halls were often rededicated for Brahmanical devotion, and Buddhist deities sometimes became integrated into the Hindu pantheon, illustrating a complex interplay of religious evolution and cultural assimilation.
Dr. Efurd's research methodology emphasizes 'slow looking,' a contemplative approach to studying art and architecture. By spending extended periods within the caves, often over several days or repeat visits, he gains deep insights into their design, layout, and spatial characteristics. Precise measurements are crucial, as rock-cut caves, unlike traditional architecture, often exhibit subtle deviations from straight lines that are imperceptible at first glance. His photography aims to capture not only architectural and sculptural elements but also the immersive aesthetic experience of visiting these sites.
Having explored approximately 82 sites across India, including Buddhist, Hindu, and Jain excavations, Dr. Efurd also extended his studies to Sri Lanka, China, and Korea. He speculates that major undiscovered sites may still exist, given historical precedents where significant findings emerged from debris-filled caves or previously unknown lower levels. A recent discovery at Ghatotkacha, where a carved 'nagaraja' (serpent king) was unearthed after centuries, underscores the ongoing potential for new revelations.
Interactions with individuals currently inhabiting or worshipping in these ancient caves form a vital part of Dr. Efurd's experience. He acknowledges a long-standing tradition of gurus and saints residing in these abandoned monastic spaces. As an honored guest, he often engages with present occupants, respecting their wishes regarding photography and access. One memorable, albeit vaguely described, experience involved gaining rare access to a normally off-limits cave, revealing a colossal sculpture hidden within, a testament to the profound and unexpected discoveries that arise from respectful engagement with these living heritage sites.
Today, these caves are predominantly managed as historical sites under the Archaeological Survey of India, balancing preservation efforts with the allowance for religious expression. Dr. Efurd's expertise lies in the excavation techniques and architectural features, yet he remains deeply aware of their original religious purpose. He finds it deeply moving when visitors perform rituals within the caves, reminding him of their enduring spiritual significance, which often involves music, chanting, or prayer, adding another layer to his understanding beyond mere photographic documentation.
Our understanding of these monasteries continues to evolve, moving beyond a Western-centric interpretation of alleged inconsistencies in form and ornament. As more observations and measurements are gathered, intricate connections and mathematical relationships become apparent. Dr. Efurd's own work at Karle, focusing on its 'caitya' hall, highlights how its proportions, architectural features, and ornamentation adhere to precise mathematical principles. This rigorous approach, free from preconceived notions, is crucial for truly comprehending the original intent behind the creation of these ancient sacred spaces.