Cave 17 was started immediately after Cave 16 in the 460s. It is first of the cluster of excavations (Caves 17, 18, 19, 20, 29) sponsored by Upendragupta, the feudatory ruler of the Ajanta region. While he was a prime force in the site’s renaissance in the middle of fifth century, he may have spent too much wealth on religious pursuits, and not enough on the implements of war. In the 470s CE he suffered a defeat at the hands of the rival Asmakas and all work on his caves including Cave 17, came to a sudden halt.
The verandah of this cave has massive pillars in the front. The main hall has three entrances, and the central door is adorned with carvings. The twenty columns dividing the corridors on the four sides of the hall are lavishly carved and painted. Beside the two cells in the verandah, this cave contains sixteen cells and a cistern of water. The shrine contains a massive figure of Buddha in dharmachakra mudra or Teaching attitude that is flanked by the Boddhistava Padmapani on the right and Vajrapani on the left.
This cave has thirty major murals that are well preserved and include a huge and gigantic wheel representing the ‘Wheel of Life’, flying group of Celestials (Gandharvas and apsaras), a damsel wearing beautiful headgear, story of subjugation of Nalagiri (a wild elephant) by Buddha and Buddha preaching to a congregation all depicted in veranda. The Jatakas depicted inside the cave are Chhaddanta, Mahakapi, Hasti, Hamsa, Vessantara, Maha-Sutasoma, Sarabha-miga, Machchha, Matruposaka, Sama, Mahisa, Valahass, Sibi, Ruru, Nigrodhamiga and Simhalavadana. Buddha offering his begging bowl to his son Rahula is depicted to the right of the sanctum. Some scenes also incorporate themes from everyday society and culture such as a shipwreck, a princess applying makeup, lovers in scenes of dalliance, and a wine drinking scene of a couple with the woman and man amorously seated.