These different types of caves contain amazing varieties of sculptures, architectural features as well as murals, Ajanta is one of the best example. Here we find the caves in two types- Chaityas and Viharas. Viharas are big monastries of residence. Chaitya hall has a stupa (sometimes contain an image). These caves were hewed out of rock and took several years. These caves are now connected by steps (earlier steps were not provided).

Occupied for almost 700 years, the caves of Ajanta seem to have been abandoned rather abruptly. They remained shrouded in obscurity for over a millennium, till John Smith, a British army officer, accidentally stumbled upon them while on a hunting expedition in 1819. The 'View Point' from where John Smith first glimpsed the caves, provides a magnificent sight of the U-shaped gorge and its scenic surroundings. Cascading down the cliff is a spectacular waterfall, which at the bottom feeds a natural pool called the Saptakunda.

Cave 1 :- It is one of the most important rock-cut vihara caves in India (late 5th century) and has some of the most beautiful mural paintings and sculpture. Its plan consist of a porch (destroyed) giving access to a verandah preceding the main hall; at the rear are a centrally placed antechamber and the shrine beyond. The hall has twenty finely carved and painted pillars, with an outer aisle on all four sides. Along the left and right sides and to the left and right of the antechamber at the rear of the main hall are doorways providing access to fourteen small cells. The entrances to two further chambers are at either end of the verandah, which is 64 ft long, 9 ft 3 wide and 13 ft 6 in. from floor to ceiling.

Cave 2 :- This vihara dating from the early 6th century has a layout similar to that of cave 1, but its proportions are smaller. The length of the verandah is 46 ft 3 in. and the sides of the roughly square main hall measures 48 ft 4 in. x 47 ft 7 in. In the hall there are twelve massive pillars that are collaborately carved. The shrine at the rear of the cave has an imposing statue of the Buddha in dharmachakra mudra. There is a subsidiary chapel situated on each side of the antechamber, and there are ten cells symmetrically disposed along the left and right walls of hall.

Cave 4 :-Planned on a grand scale, but never completed, this is the largest monastery at Ajanta. The verandah has eight octagonal columns and a cell at either end. The central doorway leading to the hall is decorated with figures of guardians, couples and maidens clutching trees and also images of the Buddha and Ganas, or dwarfs, with garlands. To the right of the doorway there is a panel depicting Avalokiteshvara surrounded by worshippers suffering torments.

Cave 6 :- Excavated on two levels, it has a splendidly carved entrance. The lower hail has 16 octagonal columns. In the shrine is the seated Buddha accompanied by standing Buddhas. The upper hall has only one painting, depicting the gift by a monk.

Cave 7 :- Unlike the other monasteries, this one contains only two small porticos and does not have a hall. The shrine has a seated Buddha with a halo carved on the back wall.

Cave 9 :- Rectangular in plan, with a monolithic hemispherical Stupa in the centre Traces of wall-paintings can be seen above which are figures of the Buddha in various poses.

Cave 10 :- This cave is probably the earliest cave excavated at Ajanta. The paintings reveal a royal personage accompanied by soldiers, musicians and dancers, worshipping the Bodhi Tree and the Stupa. On the right wall are the jataka tales which are of great interest.

Cave 11 :- Believed to be excavated in Mahayana Buddhism, it has an entrance with a lion-head at each end of the threshold. The ceiling of the verandah is painted with trees, birds, beasts and geometric designs. The walls are adorned with the figures of the Buddha.

Cave 12 :- Among the earliest of monasteries its doorways in the hail are topped with arched Chaitya window motifs. Particularly noteworthy is a Brahmi inscription recording the gift of the merchant Ghanamandada, on the rear wall of the cell in the right corner of the hail.

Cave 13 :- It is a small monastery belonging to the earlier phase of excavation. The hall has seven narrow cells, each with two stone beds. One of the cells has a raised stone pillow in it

Cave 14 :- This cave, excavated at a higher level, can be reached by passing through an incomplete cave. It has a central doorway whose top is adorned with attendants and maidens clutching branches.

Cave 15 :- A two-tiered structure, it has a Stupa with a canopy of serpent hoods in the lower tier. The upper tier has a Chaitya window motif with a pair of beautifully carved pigeons. The rear wall of the hall is carved with an image of the Buddha seated on a throne.

Cave 15A :- Reached by a descending flight of steps near Cave 15. The walls of the hail are carved with Chaitya window motifs in relief. Each of the cells in the hall has a door and raised platforms, which served as beds.

Cave 16 :- This vihara of the 5th century is one of the finest monasteries at Ajanta. Its verandah is a little wider than that of cave 1 (10 ft 8 in.; 3.25 m) but is similar in length (65 ft; 19.50 m). The main hall is, however, significantly larger, measuring 74 ft (22.25 m) at its widest end, with a ceiling height of 15 ft (4.60 m).

Cave 17 :- Slightly later in date than cave 16, this vihara still has many murals that have survived in a fair state of preservation. The plan is similar, with a square hall containing twenty columns, preceded by a verandah, which is 64 ft (19.50 m) long. This cave has a large antechamber measuring 18 ft 4 in. (5.60 m) across leading to the shrine, which is squarish but slightly irregular in plan (18 ft 4 in. x 19 ft 8 in.; 5.60 x 6.00 m).

Cave 18 :- A rectangular excavation it has two pillars with moulded bases and octagonal shafts leading into another cell.

Cave 19 :- Inside the Cave 19 we find something striking and familiar. When we compare the stupa here to the one’s in the earlier and later first century ones at the site, Caves 10 and 9, we see that what was an aniconic, geometric reliquary mound in the first Early Andhra period, have been replaced in the Gupta period by a stilted form toped by three tall chattra (umbrellas) and featuring upon its face a large fremed nich, within which we find a standing Buddha image.

Cave 20 :- A small monastery with delicately carved verandah columns and bracket figures. The hall has no pillars, and some of the cells inside have, above their lintels, a design which resembles the Shikhara - the top of a temple.

Cave 21 :- Among the earliest of monasteries its doorways in the hail are topped with arched Chaitya window motifs. Particularly noteworthy is a Brahmi inscription recording the gift of the merchant Ghanamandada, on the rear wall of the cell in the right corner of the hail.

Cave 22 :- Excavated at a higher level, this small monastery with a narrow verandah has four unfinished cells. On the right wall of the shrine are painted the seven Manushi-Buddhas with Maitreya under their respective Bodhi Trees.

Cave 26 :- Cave 26 is actually a complex of caves: a large caitya hall and two side viharas. According to the inscription, these caves were donated by a monk named Buddhabhadra. The entire facade of Cave 26 is covered in Buddhas and related images, many of which were probably added after Buddhabhadra's involvement with the cave. This overflow of intrusive imagery indicates regular use and popularity of the cave image. The Cave 26 complex had a large courtyard, connecting the right and left wings to the main cave. The facade may have originally been more elaborate as well, with a deep porch (the cliff has crumbled away).

Cave 27 :- An adjunct to Cave 26. It has a shrine and an antechamber with its narrow front wall portraying a Naga king, a couple anc a female standing gracefully on a Makara, a mythical sea monster, with a bird perched on her right hand. The shrine has an image of the Buddha in teaching attitude.

unfinished caves :- Caves 3 & 5: These are unfinished monasteries of the second phase of excavation. Cave 5 is notable for its intricately carved doorway with female figures standing on Makaras.

Cave 8: An unfinished monastery excavated in the earlier phase.

Cave 23: It has some delicately sculpted figures of the river goddesses and amorous couples and decorative medallions containing dancing Ganas.

Cave 24: An unfinished cave, its verandah has some of the finest sculptures of Naga guardians and river goddesses.

Cave 25: A small, unfinished monastery, excavated at a higher level, with an enclosed courtyard, a pillared verandah and a hall. There is no shrine inside the cave.

Caves 28 & 29: Both the caves are largely inaccessible. Cave 28 is a monastery and Cave 29, a Chaitya-griha (hall of worship).