Ajanta cave 11 is known for clumsiness of the pillars and the irregularity of the cells. This actually stamps the monastery as the initial product of the structural revival, dating from the beginning of the fifth century AD or even earlier. Approaching the verandah, one can find the high plinth and parapet, of which, are decorated with a railing-pattern, is provided by a flight of steps. The pillars of the verandah have square bases of unequal heights, octagonal shafts and bracket-capitals. At each end there are two cells, entered by steps, the outer cells having collapsed.

The ceiling of the hall is supported on four pillars having moulded bases, tapering octagonal shafts and pot-with-lotus-petal capitals. The back and the left walls have three cells each, and a bench runs throughout the entire length of the right wall. The cave has no antechamber, and the shrine, with an image of Buddha in teaching attitude carved against an unfinished stupa, is also somewhat unfinished.

The ceiling of the verandah along with its projection is covered with painted motifs including varied flora, birds, beasts and geometric designs. A painted version of the quadripartite deer of Ajanta Cave 1 is noteworthy. The back walls of the verandah immediately to the left and right of the door are painted with large-sized Bodhisattvas with attendants, large portions of the paintings being damaged. The walls of the hall are painted mostly with figures of Lord Buddha. Two painted records have been noticed so far.

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