Echoes of the Ghats: Dr. David S. Efurd’s Decades-Long Odyssey into India’s Ancient Cave Monasteries

For over twenty-five years, Dr. David S. Efurd, an esteemed associate professor and chair of art and art history, has been engaged in a quiet, monumental task: mapping the soul of India’s ancient rock-cut architecture. Armed with little more than a notebook, a handheld camera, and a profound commitment to the practice of “slow looking,” Dr. Efurd has documented more than 80 Buddhist, Hindu, and Jain cave sites across western India.

His extensive archive, now preserved through Artstor, contains over 10,000 photographs. These images offer an unprecedented window into the world of the second century BCE, capturing monasteries carved with exacting precision into the volcanic basalt cliffs of the Western Ghats. His work does more than catalog stone; it bridges the gap between historical relic and living spiritual space.

The Genesis of an Obsession: A Legacy of Scholarship

Dr. Efurd’s journey began under the tutelage of the legendary scholar Walter Spink, the preeminent authority on the Ajanta caves. Spink’s own devotion to the site was so absolute that he maintained a semi-permanent residence at the MTDC hotel near the caves, hosting annual seminars that became a pilgrimage for aspiring art historians.

“I was completely enthralled by what was left at Pitalkhora, a site dating back to the second or first century BCE,” Dr. Efurd recalls. “That was about a quarter-century ago, and I find myself continuing to revisit these early cave sites, uncovering layers of history that many visitors pass by in mere minutes.”

Chronology and Architectural Evolution

The development of these caves was not a random occurrence but a sophisticated response to geology, climate, and religious necessity.

The Early Phase (2nd Century BCE – 2nd Century CE)

The earliest sites, such as Pitalkhora and the foundational halls at Karle, were primarily Buddhist. The selection of the Western Ghats—massive, volcanic basalt outcroppings—was deliberate. The stone provided structural integrity, allowing for expansive, hollowed-out prayer halls (chaityas) and intimate living cells for monks.

These sites served a critical function during the vassa, or the monsoon season. During these three months of torrential rain, nomadic monks would cease their travels to take up fixed residence, fostering a symbiotic relationship with nearby lay communities who provided alms in exchange for spiritual guidance.

The Period of Synthesis (4th – 7th Century CE)

As centuries passed, the aesthetic program of the caves evolved. While the early sites relied on symbolic motifs—such as the Triratna (the Triple Gem) and intricate railings—later periods introduced explicit iconography, including statues of the Buddha and Bodhisattvas.

Interestingly, the decline of Buddhism in the region did not lead to the total abandonment of these structures. Many sites, including those at Karle and Ellora, were repurposed by Hindu communities. Buddhist halls were often rededicated for Brahmanical devotion, a transition that saw the "rebranding" of existing sculptures into the Hindu pantheon.

Supporting Data: The Science of "Slow Looking"

Dr. Efurd’s methodology challenges the "tourist gaze," which often prioritizes rapid photography over deep observation. His research relies on:

• Mathematical Precision: By taking meticulous measurements, Efurd has identified complex proportional systems in the design of the chaitya halls. These structures, often assumed to be less precise than built masonry, reveal a sophisticated mastery of geometry.
• Solar Alignments: Perhaps the most striking discovery in his research involves the deliberate manipulation of light. At Ajanta, specific windows are aligned with the winter solstice, ensuring that light strikes the central Buddha image exactly once per year. Similarly, the Kirnotsav festival at Ellora celebrates the alignment of the sun’s rays with the face of the Buddha—a feat of ancient engineering that remains observable today.
• Archaeological Evidence: Physical features such as rock-cut cisterns, stone beds, and refectory benches provide a granular look at the daily, mundane lives of the monks who inhabited these spaces.

Living Spaces: The Intersection of Faith and Preservation

While the Archaeological Survey of India (ASI) manages most of these sites as protected historical monuments, they are rarely "dead." In many remote locations, they remain active sites of worship.

Dr. Efurd notes that there is a delicate balance between academic preservation and religious expression. “I have noticed in recent years that many caves have posted signs encouraging visitors to remove shoes before entering,” he says. “This occurs not only at Hindu sites but also at Buddhist and Jain caves. It is a sign that these places are respected as sacred, regardless of their official designation as historical ruins.”

One of his most profound personal experiences involved being granted access to a restricted, lower-level cave at a site he prefers to keep confidential. Inside, he encountered a colossal, ancient sculpture, sheltered from the elements and the public eye—a poignant reminder that even after centuries, the caves still hold secrets.

Implications for Future Research

Dr. Efurd believes we are currently in a pivotal moment of re-evaluating Indian rock-cut architecture. By shedding "Western-centric" architectural standards—which emphasize plumb lines and standard masonry—researchers are finally beginning to appreciate the unique logic of the ghat excavations.

“Before, observations like alleged inconsistencies in form may have prevented us from realizing the intent of the builders,” Efurd explains. “However, the more we observe and measure, the more connections become visible. We risk not understanding the true genius of these spaces if we continue to view them through a narrow, biased lens.”

The Future of Discovery

Despite the thousands of hours spent in the field, Dr. Efurd suspects that significant discoveries are still to be made. “Finds of isolated caves occur from time to time,” he notes, citing the recent clearing of a boulder at the Ghatotkacha site that revealed a long-hidden Nagaraja (Serpent King) sculpture.

As climate change and natural erosion continue to threaten these sites—often filling them with silt or damaging the basalt—the digital archive created by scholars like Dr. Efurd becomes increasingly vital. It ensures that even if the physical stone were to succumb to the elements, the intricate details of these spiritual masterpieces remain accessible to future generations.

Conclusion: A Call to Contemplation

The work of Dr. David S. Efurd is a testament to the power of patience. By spending days in the silence of a cave, he has managed to document a world that was designed to be experienced over a lifetime. His photographs are not merely documentation; they are an invitation to the viewer to engage in their own act of "slow looking"—to notice the shadow on a pillar, the curve of a molding, and the enduring light that continues to illuminate the Buddha’s face, just as it did fifteen hundred years ago.

For those interested in exploring the collection, the Artstor archive serves as a permanent digital repository for these wonders, ensuring that the legacy of the monks of the Western Ghats continues to inspire and instruct long into the future.