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OCT XO

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1917

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THE ROCK-CUK

V^

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TEMPLES OF INDIA
ILLUSTRATED BY SEVENTY-FOUR PHOTOGRAPHS TAKEN
ON THE SPOT BY MAJOR GILL
DESCRIBED BY JAMES FERGUSSON,

F.R.S.

M.R.A.S

ROCK-CUT FORTRESS OF DOWI-UTABAD.

LONDON:
JOHN MURRAY, ALBEMARLE STREET.
^
1864.

-*

.7

-J-

LONDON
PRINTED BY

R.

CI AV,

SON,

AND TAYLOR.

*i*

PREFACE.

During
to

a lengthened residence in India

be able to

visit

in

succession

it

the

all

princii)al

known

Rock-cut Temples which, were then

my good

was

groups of

exist

to

fortune

that

in

country.

In 1836 those of Cuttack were

first

examined.

In 1838 an

extended tour was made for the pnrpose of exploring those of

Western India, and

by a

The

visit to

in

the

1841

investigation

those of Mahavellipore, in the Madras Presidency

intervals

that

elapsed

between these several dates were

useful for correcting the vagueness of

enabling

me

architecture,

was completed

to

fill

up the gaps

in

first

impressions, and in

my knowledge

by examining cotemporary

of Indian

structural buildings,

and

studying other cognate sources of information.

The

results of these investigations

were embodied

which was read to the Royal Asiatic Society


lished in the Eighth

Volume

of

its

paper

1843, and pub-

in

1845, accompanied

plates, in folio, illustrating the jirincipal

types of Rock-cut Architecture in India.

i-

Journal.

This paper was afterwards republished

by nineteen lithographic

in

in

Preface.
In consequence of the interest which these pubhcations excited

among

those interested in the study of Indian Antiquities, a me-

morial was addressed to the Court of Directors of the East India

Company, praying them

and destruction of these venerable monuments of the

cration
past,

the

to take steps to prevent further dese-

and above

all

to appoint

perishing Frescoes of

fast

some one

A junta,

make drawings

to

before

of

decay and the

recklessness of Tourists had entirely obliterated them.

One
Major
a

result of these
Gill,

representations was, that Captain,

was appointed

to

task for which he proved

the

artistic

skill

copy the paintings

in

now

Ajunta

himself thoroughly competent, by

displayed in

of

copies

the

these

paintings

which he has sent home, as well as by the truthfulness and


fidelity

The

which pervade
pictures sent

all

he has done.

home by Major

now

years of his residence at Ajunta are

Court of the Crystal Palace

at

Gill

during the

first

few

exhibited in the Indian

Sydenham, and convey a perfect

idea of the style of the paintings at Ajunta

but unfortunately

they have not been accompanied by any exj^lanation, or any


indication of the localities in which they are found.

The

only

attempt to elucidate their history, which has yet been published,


will

be found

in

Mrs, Spier's " Life

in

Ancient India," published

in 1856.

For many years past no further drawings have reached


country, but instead,

)ear to Mr.

Major

Gill sent

home

this

in the spring of this

La\ard nearly two hundred stereoscopic views of

Indian subjects.

-*
Preface.
chase, of

About one-half these Were scenes of the


and

life,

illustrations

of the

Mahometan

buildings and of the

Of

scenery in the neighbourhood of Ajunta.


half,

many were

Indian

remaining

the

duplicates, but those forming the illustrations

of the present volume, have been selected as being

all

those in

the collection which could fairly be considered as representing

Rock-cut Architecture.

The

text

which accompanies them

complete and

is

scientific elucidation of

but

it is

hoped

of each Photograph
necessary,
clearly than

for

the

that

it

is

intelligible.

Photographs

Those who

the subject.

desire fuller information are referred

above

not intended to be a

to

the works mentioned

sufticient to

render the subject

This seems to be
tell

their

own

all

that

story far

is

more

any form of words that could be devised, and even

without the text they form by far the most perfect and
factory illustration of the ancient architecture

of

satis-

India which

has yet been presented to the Public.

JAMES FERGUSSON.
-20,

Langham Place,
October,

'

*"

1863.

')j^m^:^i^mm^im^m^:m^om?:^m^mt>M

CONTENTS.

CAVES OF AJUNTA.
PAGE

BRIDGE AND

TOWN OK AJUNTA

AJUNTA
GENERAL VIEW OF CAVES. AJUNTA
CAVES NO.
TO NO.
AJUNTA
HEAD OF RAVINE.

2
'

I4.

I,

THE FIRST SEVEN CAVES AT AJUNTA

SOUTHERN END OF THE SERIES OF CAVES.


THE OLDEST GROUP OF CAVES.

AJUNTA ...

AJUNTA

6
7

THE OLDEST CHAITYA CAVE AT AJUNTA

THE OLDEST

AJUNTA
VIHARA. AJUNTA
VIHARA. AJUNTA

VIHARA NO.

IX,

CHAITYA CAVE NO.

THE OLDEST

lO.

8
'

AT AJUNTA

VERANDAH OF CAVE

NO.

II.

EXTERIOR OF VIHARA NO.

15.

VIHARA

16.

NO.

I4.

AJUNTA
AJUNTA

VERANDAH OF CAVE

NO.

NO.

11

I4
15

16
1
1

EXTERIOR OF VIH.\RA NO.

VERANDAH OF CAVE

9
lO

12

AJUNTA
AJUNTA

INTERIOR OF VERANDAH NO. I4.AJUNTA

VIHARA NO.

6.

AJUNTA
AJUNTA
AJUNTA

1 7.

I7.

vii

19

20

Contents.

AISLE IN

IIAI.I.

OF VIHARA NO.

PORCH OF CHAITYA NO.

I9.

GREAT WINDOW, CHAITYA

I7.

AJUNTA

.VfUNTA
.\JUNTA
NO.
19.

It
.

AJUNTA

LOWER PART OF FACADE OF CHAITYA

NO.

19.

LOWER PART OF FACADE OF CHAITYA

NO.

I9.AJUNTA

^5

26

INTERIOR OF CHAITYA NO.

ROOF OF CHAITYA NO.

9,

19.

AJUNTA.

AJUNTA
,\JUNTA

TRIFORIUM OF CHAITYA NO.

19.

TRIFORIUM OF CHAITYA NO.

19.

TRIFORIUM OF CHAITYA NO.

I9.

AJUNTA
AJUNTA

TRIFORIUM OF CHAITYA NO.

I9.

.\JUNTA

HINDOO SCULPTURE.
CAVE NO.

20.

CAVE NO.

20.

6.

.^i

I9.

.AJUNTA

7.

5.

37

38
39

VERANDAH OF CAVE

EXTERIOR, CAVE NO.

AJUNTA
.AJUNTA
AJUNTA

VERANDAH, CAVE NO.

2.

VERANDAH, CAVE NO.

2.

FACADE, CAVE NO.

I.

FACADE, CAVE NO.

I.

FACADE, CAVE NO.

I.

AJUNTA
AJUNTA
AJUNTA

FACADE, CAVE NO. I. AJUNTA

VERANDAH, CAVE NO.

DOORWAY, CAVE NO.

21.^

23.

23.

AJUNTA

41

42

44

4.5

46

47

AJUNTA ....
AJUNTA
AJUNTA
CAVE NO.

22.

FACADE, CAVE NO.

4.

40

43

AJI^NTA
21. AJUNTA
,\JUNTA

I.

NO.

-AJUNTA

INTERIOR OF VERANDAH, CAVE NO.

DOORWAY, CAVE NO.

33

36

2.

32

35

4.

.SCULPTURE IN

VERANDAH,

.?o

34

INTERIOR OF VERANDAH, CAVE NO. 4

CAVE NO.

29

AJUNTA ....
AJUNTA
CAVE NO. AJUNTA

FACADE, CAVE NO.

FACADE OF

I9.

28

AJUNTA ...
AJUNTA ....

FACADE, CAVE NO.

CAVE NO.

CHAITYA NO.

27

AJUNTA
.\JUNTA

CHOULTRIE ATTACHED TO CHAITYA NO.

24

48
I

AJU NTA

49
50
51

52

53
54
55

--:-

^
Contents.
PAGE

FACADE, NO.

24.

AJUNTA

56

LOWER PART OF FACADE OF CHAITYA

AJUNTA
26. AJUNTA

NO. 26.

UrPER PART OF FACADE OF CHAITYA NO.

57

58

CAVES OF ELLORA.

ELLORA
VISWAKARMA. ELLORA

EXTERIOR VISWAKARMA.

63

EXTERIOR

64

VIHARA

ELLORA

65

ELLORA
DUS AVATARA. ELLORA
PUS AVATARA. ELLORA
RAVANA KA KAIE. ELLORA

TEEN TAL.

PLAN OF KYLAS ELLORA

66
67

68

69
70

ELLORA
VIMANA, KYLAS. ELLORA
CLOISTER, KYLAS. ELLORA
BAS-RELIEF, KYLAS. ELLORA
BAS-RELIEF, KYLAS. ELLORA
SCULPTURE, KYLAS. ELLORA
SCULPTURE, KYLAS. ELLORA
INDRA SUBHA. ELLORA
KYLAS.

72
73
74
75

76
77

7S

gRT^feTjIH

'^

IRODUCTION,

IN

''INHERE

are few

among

the

monuments

of antiquity regarding

whose history or uses so much uncertainty prevailed,

till

a very

recent period, as those

known

as the rock-cut temples of India.

When Europeans

became

acciuainted with them, they were

first

and the apparent eternity


jumped at once to the
conclusion that they must be among the most ancient monuments
of the world, rivalling in this respect, as was then supposed,
There was also a mystery hanging
even those of Egypt.
over their deserted condition, added to the fact that almost
all of them were situated in remote and lonely valleys, or cut
so struck

by

their monolithic grandeur,

of duration that resulted from

into

the bare mountain-side

conspired
tainly

to

render

it,

that they

which, with other circumstances,

them the most

were the grandest,

attractive,

relics of the arts of the

as

they cer-

ancient

Hindoo

races.

In consequence of

all

this,

the wildest theories were adopted

with regard to their antiquity and the purposes for which they

These might have continued in vogue


had not James Prinsep, between the years
1830 and 1840, opened a new era in our knowledge of Indian
antiquities, and introduced new modes of investigation, which soon
led to most important results.
Among the first fruits of his labours was the decipherment of
the Great Buddhist inscriptions, which exist all over Northern
were originally intended.
till

the present day

India,

from beyond the Indus

the Bay of Bengal at Cuttack.

at

Kapur

di Giri to the shores of

Introduction.

This discovery led to a thorough investigation of the Buddhist


of Ceylon by the Hon. Mr. Turnour, and the con-

literature

Muni, the

sequent fixation of the date of the birth of Sakya


founder of that

or about the year 623 B.C.,

faith, in

eighty years later, in 543.

It

and of

dhism did not become a prevalent,

still

less

a state religion,

till

300 years afterwards, in the reign of Asoka. As


excavations belong to this faith, an initial date was thus obtained,
beyond which it was impossible to carry back the antiquity of
the earlier

all

his death

was also then ascertained that Bud-

any of the

known

rock-cut temples then

since brought to

or

Subsequent researches have more and more confirmed

light.

the conclusions then arrived at

and there seems no reason

for

doubting but that the whole series of Indian Rock-cut Temples

were excavated in the fourteen centuries which elapsed between


the time
"

when Uasaratha,

Milkmaid's Cave"

Subha by Indradyumna

of the Indra

pletion

the grandson of Asoka, excavated the

Behar, about 200 years B.C., and the com-

in

at

EUora,

in the

twelfth century after our era.

As might

naturally be expected from their locality, the oldest

group of these caves

that at

is

Raja Griha

in Behar,

being close

Buddhism, and where it first rose into


They extend from 200 B.C. to the destruction of the

to the original seat of

importance.

Andhra dynasty
Next to these

in the fifth century of


is

our

era.

same
Buddhism is concerned, but
of much more modem date.

the Cuttack series, beginning about the

time, but ending earlier in so far as

continued through a Jaina series

These are the only two groups known

On

the western side of India, the

not only the oldest, but the finest

to exist in Bengal.

Cave

known

at

Karli

to exist.

is

apparently

It is situated

on what is now, and probably was then, the great highroad


between the plains of the Deccan and the Harbour of Bombay,
which we know to have been an important Buddhist locality, from
the number of caves that still exist around it. But the most complete and interesting series known is that of Ajun,ta, which are
fully

illustrated

in

this

volume.

century B.C. to the tenth

They extend

or eleventh

a. D.

variety of style of Buddhist art prevalent in

froin

the

first

and present every


India during that

important period.

Next

^-

in

importance

to these

is

the well-known group at EUora,

Inlroduction.
consisting of three series

First, a Buddliist

group, wliich

may

probably be as old as the seventh, but more probably belongs to


After these comes a

the eighth, or ninth, century.

Hindoo

series,

two or three centuries, and closing with


a Jaina group of the eleventh or twelfth.
They form thus a
singular contrast with those at Ajunta, where all belong to one
religion
though it may be a question whether the variety of the
lasting through the next

one

series is not as interesting as the uniformity of the other.

Besides

there

this,

a very important and interesting series of

is

caves at Kennari in the island of Salsette, in

wholly Buddhist,

and

of

Hindoo cave of Elephanta, of


In the Ghats above

ages

various

Bombay

Bombay Harbour

and

the

well-known

the eighth or ninth century.

there

another important

is

series,

Juneer ; a Buddhist group at Bang, in Malwa and one partly


Buddhist and partly Brahmanical at Dhumnar, and several others
at

known, and which yet remain to be examined and described.


Only one important group is known to exist in the Madras
Presidency, that at Mahavellipore, on the coast, south of Madras.
They are comparatively modern, and may be as late as the
less

They present a curious mixture of


Brahmanical and Buddhist forms of architecture, but cannot bear
comparison either in extent or interest with those existing in the
thirteenth century of our era.

Bengal or

Bombay

Altogether,

Presidencies.

has been calculated there

it

excavations of this class

may be

in India i,ooo

nine-tenths of which are Buddhist, and

the remaining loo divided between the Brahmanical and Jaina


religions.

They

most interesting
before the

thus form not only the most numerous, but the

remains existing

series of architectural

Mahomedan

Conquest.

In

fact,

in India

they are the only ones

that serve to illustrate the Arts or History of the period to

The

which

monuments erected during the early


centuries of our era are scarce and widely scattered over the
whole area of the country, and few even of these are in the state
they belong.

in

structural

which they were originally erected

whereas one of the great

remains unchanged and


unchangeable durmg the whole period of its existence.
merits of cave -^rrliitPCture

is

that

it

In order to understand what has just been said and a great


deal of what

is

to follow,

it

is

necessary to bear
xiii

in

mind

that thrte

Introduction.
great phases of religious failh have succeeded one another in

The

India in historical times.

Aryans

an elemental

fust

any human

tion or idolatr}^ as

faith well

only from the Vedas, and from


of the ancient Persians

who has

prevalence

monument

its

can

We know

be.

it

analogy with the fire-worshij)

no stranger

for

left

or material

We

judged.

was that of the immigrating


removed from supersti-

fire-worship, as far

visited India during

its

and no
could be

us an account of what he saw,

records

remain by which

it

have every reason, however, to suppose that

continued pure and undefiled

till

the period

when

it

it

was superseded

by Buddhism, some three centuries before our era.


We have only slight means of guessing what the religion of
the aboriginal Indians may have been in early times, but it
seems clear that Buddhism was little else than a raising up of the
aboriginal casteless Hindoos to a temporary supremacy over the
When Buddhism broke down in India, of
aristocratic Aryans.
which we have symptoms as early as the sixth century a. d., it
was succeeded in some parts of ^Vestern India by the religion of
Jaina

a form of faith that

may have

existed in obscurity con-

temporaneously with the other, but only came

to

light

on

its

extinction.

What

really replaced

it,

however, was the modern Brahmanical

worship of Siva and Vishnu.

This was apparently the religion of

some

of the original inhabitants of the country with

effete

remnant of the old Brahmanical Aryans


overthrow the Buddhists.

in order to

but this most unholy alliance

whom

the

allied themselves,

In this they succeeded

has given birth

to

one of the

most monstrous superstitions the world now knows, but which


generally prevails at the present day over the whole peninsula

of India.

So

we know,

far as

the Aryans built no permanent buildings

Their pure religion required no stately ceremonies,

in India.

and consequently no temples.


palatial structures

pageantry

in the habit

and

it

The

climate

is

so temperate, that

were only necessary for the display of passing


also

happens that where races of men are not

of building temples or tombs, their residences are

more remarkable for temporary convenience than they are


permanent magnificence.
Architectural magnificence was, on

for

the contrary, a necessity

IntroductiQn.
with the Turanian natives

and one of the most interesting points

brought out by the study of the caves

is

the

fact, that

the earliest

mere petrifactions of wooden buildings. The mortices, the


tenons, and every form of wooden construction, is repeated in

are

the rock in the earliest caves

remains as

still

and frequently even the woodwork

placed there to support the mountain, instead

if

of being merely intended to recall the structure

covered or boarded roof from which

The same
are in like
in

both instances

events,

how

repetitions in stone of
it

appears that

all

metal

the earliest tombs

wooden

structures,

and

was the Greeks who taught

it

more permanent
monuments we know in

to use the

the earliest

of the

was copied.

thing occurred in Lycia, where

manner

the natives

it

materials.

At

all

India, the lats of

Asoka, are adorned with Greek ornaments, evidently borrowed


from the Bactrian Greeks of Central Asia, and in the earlier
caves there
every form
with

wood

All the
classes.

is

not one single form that suggests

is

essentially

itself.

Buddhist caves we

They

are

Chaitya caves

or

know

of belong to one of two

either Viharas or Monasteries, or

churches,

the

former being,

expected, by far the most numerous.

The

of one cell only

fact, for

little

hermitages, in

Fig.

PLAN OF VIHAR.\ AT fDVAGIRI.

single ascetic.

as

they are

might be

oldest Viharas consist

the residence of a

SCALE

25

FEET TO

IXCH.

In the next class they were extended to a long

verandah, with one long cell behind

As

lithic architecture

wooden, and frequently interchanging

it,

as in the example. Fig.

i.

these had, however, several doors opening outwards, they pro-

bably were divided by partitions into cells internally.

Introduction.
In the third, and by far the most numerous class, Fig.

expands into a

around

hall,

the

this

2,

the cell

generally with pillars in the centre

of the

cells

monks

are

and

arranged, the abbot

or prior generally occupying cells at either end of the verandah.

PLAN OF VIHARA NO.

2.

AT AJUNTA.

SCALE 50 FEET TO

INCH

In ancient times, no sculpture or images were introduced into


but as early, certainly, as the first or second century

the Viharas
of our era

we

find a chapel always facing the principal entrance,

an image of Buddha

afterwards side chapels were added,


groups of caves which had no
those
in
and
with images
find
we
a dagopa, or stone altar,
them
to
attached
cave
Chaitya

and

in

it

of saints

occupying the chapel in the centre.


Chaitya caves, on the contrary, are always exclusively devoted
to ceremonial worship, and in every feature correspond with the
a Romanesque or Basilican church, the climate apparently enabling them to dispense with the nave, or place of
assembly for the laity. As mentioned above, the typical example

choir of

of this class

is

the great cave of Karli, of which

plan on woodcut Fig.

is

represented

in

3.

Externally there was always a porch or music gallery, more or


within this, a feature corresponding with our
less developed
;

rood-screen.

This

is

always covered with sculpture, and access


xvi

^Introduction.

was obtained to the choir through one or three doors with which
was pierced. Internally, over the entrance, is the part corre-

it

sponding with the rood-loft, and over


chancel arch, through which light
Fiff.

is

this is the great

window or

admitted to the building.

X.

QgaaaaaQiaaaaiaaaj

h)

u3

ai

o a

3 a

23

las*

>^'
20

10

30

PLAN OF THE CHAITYA CA\E AT KARLI.

The

end, opposite the entrance, always terminates in an apse,

the centre of which

is

occupied by the dagopa, or stone

altar, a

simulated tomb, containing, or supposed to contain, a relic of

Buddha, or of some of

his saints.
Fii

/.M

SECTION

The whole

is

III

WE

AT

K'ARI.I.

always surrounded by an aisle or procession path,

separated from the choir by a range of pillars

over that

is

generally a triforium belt, not pierced, but ornamented either by

painting or sculpture.

roof

From

this

belt

springs the semicircular

In the oldest Chaityas, this Avas always ornamented with

wooden

ribs attached

to the rock,

and

at Karli.

woodcut

Fig. 4,

-^
Introduction.
these

still

the rock

remain.
At Kennari, the wooden tenons still stick in
but in most cases they are replaced by stone ribs cut

out of the rock.

As the Brahmans excavated caves only


their

in order to signalize

triumph over their enemies the Buddhists, and had no

real

purpose to guide them, their excavations are more varied in


Generally speaking,
character, and not so easily classified.
however, they too

may be

divided into two classes

Pseudo

Viharas and Temples.

The

first

caves with

of these resemble true monasteries at


flat

roofs supported

by

pillars,

to Buddhist excavations in arrangement.

however, from these, by having no

first sight,

being

sometimes nearly similar

They

cells or

are distinguished,

any arrangements for

residence, the wall spaces between the pillars being invariably

occupied by sculpture or niches for


the chapel, or dagopa, there

is

its

reception

Even without

a figure of Siva or Vishnu.

and instead of

generally either a small temple or


sculpture, however,

there are peculiarities of plan in Brahmanical excavations which


at once betray their origin to any one familiar with the archi-

arrangement of Buddhist Viharas.


temples are still more unlike the Buddhist
Brahmanical
The
examples, as these are invariably exteriors, and have consequently
no meaning when cut in the rock. In almost every case they have

tectural

also the disadvantage of standing in a pit, the rock being

out

The

dug

round, leaving them in the midst of the excavation.


one exception to this rule is the example of the Raths at

all

There the Brahmans found a group of granite


boulders lying on the seashore, and have carved them into the
Mahavellipore.

form of temples, having

all

the appearance of structural edifices

with the advantage of monolithic durability but the parts being


all copied from edifices constructed with small stones, no apparent
;

grandeur of

effect results

from

this cause.

The Kylas

at Ellora

and the temple at Dhumnar are, on the contrary, hid from view
externally, and when looked at from above lose half the effect
due to their dimensions. When standing in the pit, however, and
looking up at them, there is something in the seclusion, and an
simple wall of rock enclosing the richlycarved temple, which goes far to redeem these faults, and renders
effect of eternity in the

4*-

^
Introduction.

much more impressive than

them, on the whole,

structural temples

of even greatly increased dimensions.

The

Jaina temples are so few as hardly to require classification,

and have no

peculiarities by which they can be


Their arrangements partake principally of that of

architectural

distinguished.

the Brahmanical caves

indeed,

it

is

only by their sculpture that

They

they can be distinguished from them.


ever,

from the circumstance of

period of

Hindoo

art

and they were

how-

are interesting,

most

their belonging to the

also fortunate

florid

being

in

excavated at a tnne when even the Brahmans had become so


familiar with monolithic architecture as to have

abandoned most

of the faults inherent in direct imitation of structural edifices.

vain

It is in

now

to speculate

on what may

first

have induced

the inhabitants of Behar to excavate temples in the hard granite

rocks of their country, or those of Cuttack in the coarse sandstone of Khandagiri.


of Egypt, as

may have been

It

we know from

alliances with

a familiarity with those

Asoka had formed


Ptolemy of Egypt, and Megas, probably of Cyrene ;
his inscriptions, that

and to a people wholly without permanent monuments as the

Hindoos then were, the temptation


ments of these countries was

to imitate the rock-cut

What, however,

great.

monu-

really led to

was the singularly favourable nature of

their ultimate extension

the rocks in Western India for the purpose.

From

Nerbudda

the valley of the

to that of the Kistnah, the

whole country consists of horizontally


fectly

homogeneous

in

character.

intervene of harder texture


steplike

character which

Whether harder or
uniform

in

stratified trap

rocks per-

Occasionally, however, strata

than the

distinguishes

giving that curious

rest,

the

hill

forts of

India.

and cracks, and so


character, that the architect feels the most perfect
softer,

it is

free

from

faults

confidence in finding a suitable material, however deeply he

may

penetrate.

The Tapty

is

one of the few streams which have cut through

the upper crust of this formation,

and wide

valley through

side of this great valley

some miles

it,

and opened

for itself a

pursuing a western course.

On

deep
either

numerous ravines or cracks extend

into the plateau.

for

>b'

Introduction.

one of these ravines, on the southern side of the valley

It is in

of the Tapty, about three miles from the outer edge or ghat,
that the

Caves of Ajunta are

situated.

In order to render the following description of these caves


intelligible,

how

it

necessary, before proceeding further, to explain

is

numbers by which

the

When

attached to them.

them had names, but such

they

known came

are

the caves in 1839,

I visited

be

to

some of

as neither indicated their age nor the

purposes for which they were excavated, and these were applied

same name

so loosely that the guides frequently gave the

one cave and then

to

numbered them

like

to

another.

houses in a

northern, or the cave furthest

To

all

first

difficulty,

beginning with the most

street,

down

avoid

the stream,

and proceeded

to

No. 27, the last accessible cave at the southern end.


According to this arrangement, the oldest group consists of the
9th, loth, nth, and 12th, and the series becomes more and

more modern very nearly in the exact ratio on which it diverges


on either hand from this central group. Thus the group from
No. 13 to No. 19 comes next in age, and beyond these the northern
Caves, Nos. i to 7 and the southern, Nos. 20 to 27, are probably
cotemporary or nearly so. The earliest Viharas, Nos. 11 and 12,
were probably excavated in the century which preceded the
;

Christian era

they may be

older

while the excavation of No.

and No. 26 probably did not long precede the

first

Mahomedan

Conquest.
It

may

also

be remarked, that Nos. 9, 10, 19, and 26 are Chaitya,


the remaining twenty-three are Viharas. There

or Church caves
are

no Brahmanical caves

at

Ajunta, but

some sculpture

that

and may
have been excavated either after the caves were abandoned by
their original occupants, or during some period of temporary
approaches very nearly to that religion

in

character,

supremacy.

-^

THE

CAVES OF AJUNTA.

i-

*^1*

BRIDGE AND

A T

TOWN OF

AJUNTA.

the head of the ravine in which the Caves are situated stands Ajunta,
a picturesque but thinly inhabited town, at one time well

annals in consequence of

The Bara Durree

on the right of the

At

this point the

also to

bridge.

dam back

little

in front of the

same time

being situated near the

was then used

or Palace

graves of the officers


it,

its

who

fell

are

still

to

as

field

known

in

our

of battle of Assaye.

a field hospital,

and the

be seen on the plateau opposite

picture.

stream

is

crossed by a bridge of ten arches, which serves

the waters of the river so as to form a reservoir above the


farther

down

a second obstruction forms an

Bara Durree, as shown

in the

artificial

lake

photograph, and adds at the

to tlie height of the first of a series of

falls,

by which the

river

descends to that part of the ravine where the Caves are situated.

*':*

HEAD OF RAVINE. AjUNTA.

'

""HE town of Ajunta

situated on the level of the plains of the Deccan,

is

on the top of the Ghat.

down,

at

the

The Caves

are situated about 200 feet lower


rocks.

Half way

haixler rock divides the height into

two nearly

bottom of a second stratum of the trap

between them a platform of

equal strata of 100 feet each.

After leaping over the two


river descends

by numerous small

about two miles long.

which

it

falls

artificial

It

falls

obstructions
tlirough the

shewn
first

in the last view, the

stratum

iir

a course of

then reaches the edge of the lower platform, over

by seven short

leaps, in a

narrow space

just to the right of tlie

rocks shown in the view, which close the upper end of the lower ravine.

^.

>n

(;knekat, vif.w ov

T MMEDIATELY

below the rocks shown on the

makes a sudden bend


Caves

cavks. atunta.

to

the

on

left,

tlie

last

photograph, the river

outer sweep

of which

the

are situated.

This view
of which

is

this

interesting as

country

plain of the Deccan.

is

The

The

caves are situated.

through lower down.

showing the two great platforms of trap-rock

The

composed,

hill forts

river

Tapty Hows over a

And above

of this

perfectly

lower, eipiilly horizontal,

all

these three

existing in detached liorizontal fragments,

celebrated

upper,

jiart

is

is

forms the

flat,

the one in which the

third,

which

it

also cuts

an upper stratum, but only

which give so peculiar a form

to the

of India.

-^

*h

CAVES

'nn'HIS view

Xo.

TO

No. 14. AJUNTA.

represents the principal and oldest group of the Ajunta Caves.

The two Chaitya

Caves, with their great semicircular windows, seen in

the centre of the view, are Nos. 9 and 10.

and

2,

are those on

right nearly to

No.

i,

the

left

oldest Viharas, Nos. 11

of these two, and the view

which terminates the

The demarcation of

The two

extends on

the

series in this dn-ection.

the two strata of trap

is

very clearly shown in this

view, as also the nature of the scrub jungle, which covers the hills in every
direction in this country, forming an

immense

forest,

but without a single tree

of anything like magnificent dimension.s.

-^

-^

1
"'<v V,A. ^-..^

^^^iKiliii

y^

THE FIRST SEVEN CAVES AT AJUNTA

'"T^HE

lower or northern group of Caves, extending from the two older

Chaitya caves seen

The

first

left

view to

of the picture

the two-storied cave numbered as

6.

lower storey, and on the level of

its

ficent

>^-

Cave on the

in the last

Viharas

known

as Nos.

i,

2,

and

is

the'

that

No. 4

commencement of

known
is

as

No.

7.

the series.

Next

to

it is

seen on the same level as

its

upper storey are seen the three magni3.

END OF

SOL'TllERN

""HIS view

rilK

SERIES OF CAVES. AJUXTA.

taken from the verandah of Cave No.

is

16,

looking south-

ward, and represents the opposite end of the series from that of

The Chaitya Cave seen

illustration.

next

it

on

its

centre of the view

As

will

in

the extreme

left

right are the unfinished Viharas Nos. 23


is

that

known

as

No.

is

No.

and 24

26.

and

tlie last

Those
in

21.

be observed, the Caves here are very

much higher above

of the ravine than those towards the other end, especially those

in

the bottom
the cenlie.

This arose apparently from their architects following the vein of rock,
texture of wliich

seemed

the

innsl suitable for tlieir purpose.

^^smiKjM

llie

THE OLDEST GROUP OF CAVES. A|UXTA.

LARGER

view of the oldest or central group, comprising

Chaitya Caves, Nos. 9 and

10,

and interesting

spot was chosen for the earliest excavation.

rock here
its

is

As

is

smoothness down almost to the bottom of the ravine.

which was
places.

It

pro'baiily
is

onlv

broader

in

by getting

excavations are reached.

the

To

else,

and

carries

the right and

left

and the Caves are situated on a ledge,

former times, but


011

two

seen from the picture, the

smoother and more perpendicular than anywhei-e

the platform of rock rises considerably,

tiie

as explaining wliy this

is

now

hardly passable

terrace at this point

in

that the outer

Apparently, there never was any other ascent to any

of the Caves but at this spot.

^-

THE OLDEST CHAITYA CAVE AT AfUNTA.

""HE facade of (No.

I
-*-

y),

the smaller of the two old Chaitya Caves, shows

tolerably clearly the imitation of

tecture, as

came

it

Within the great arch, on either

two principal

rafters rest.

Below,

right.
cipals,

The

of archi-

five smaller are

two upright

on which the

posts,

of one of these

is

seen on the

placed horizontally, and between the two prin-

flat

ogee was probably originally painted, and represents a sort of

to

It

probably assumed

have a ridge to the roof to throw

this

form because

it

off the rain.

the face of the rib lining the interior of the arch niav be seen the incised

footings into

great arch.
the

which a wooden framework was


Its

left is

form

may

represents.

inserted,

partially closing the

be seen copied in the niches below.

some sculpture

of

much more modern

of the principal figure having been destroyed,


it

in this style

seven are arranged perpendicularly.


great

was necessary

To

side, are

The broken end

barge board terminating the gable.

On

wooden forms

into use before the Christian Era.

The dimensions

it is

date, !>ut

difficult to

of this Cave internally are 45


8

ft.

from the head

make

out

by 23

ft.

whom

CHAITVA CAVE

T NTERIOR

view of the Chaitya Cave No.

dimensions of the

There are twenty-nme

being 94

last,

pillars

On
it.

the roof

which was

is still

ft.

also

in. in

chunam and

depth, by 41
all

ft.

3 in. in width.

plain octagons without

painted.

Above

these

is

the

painted, but very few traces of this remain.

Being actually of wood they have perished, but having been copied in
still

The dagopa

remain there.

of the

wooden and

plaster decorations that once

square

relic casket,

on

its

and nothing remains

to tell of

its

it,

also

ornamented

summit, being cut in the rock,

form, but the umbrella which once crowned

was

more than twice the

seen the markings of the timber framing that once adorned

stone in the side aisles, they

still

it.

shows marks

The

retains

its

tee,

originally stepped.

or

original

being of wood, has perished,

existence here but the mortice into which

lo, rather

surrounding the nave,

bases or capitals, but covered with


triforium belt,

No. lo. AJUNTA.

it

-Hh

THE OLDEST VIHARA. AJUNTA,

'T^HIS

and the following view, represent the

oldest Vihara or

Monastery

at Ajunta,

similar excavations bearing inscriptions,


to the Christian Era,
It consists

though

or internal supports.

and four
it

cells

how

of a square hall,
It

was excavated almost

long before
36

ft.

It is peculiar at

No.

the

12,

in.

cannot

it

each

certainly anterior

now be

determined.

way without any

pillars

has three cells on the right-hand side as you enter,

on each of the other two

has one doorway, with a

interior of

and from the analogy with other

faces.

window on each

Towards the

Ajunta, from having no central

and no image or object of worship of any

face of the rock

side.

sort.

cell

opposite the entrance,

In this respect

it

resembles

the old Cuttack and Behar Caves, none of which have any images in their
interiors,

the

though the practice was apparently universal

acre at

which these

earliest caves

were excavated.

in the

West soon

after

THE OLDEST VIHARA. AJUNTA.

*"

""HE only ornaments


side

and

in this

front, four

Cave are seven horse-shoe arches on the left-hand

over the doorways of the

doorways or niches between.

On

cells,

and three over

residence of the abbot seems to have been, there are only three

much more
used

little

employed
niches.

richly ornamented,

The

rails

places
is

string course also,

wooden

where

style.

windows and

it is

though

It is

may be

used on a larger

not at

this is

construction.

repeated in stone, as

also seen the

same

in the

cells,

Just as the

it

is

Romans

niches, so the Buddhists

facades of Chaityas as ornaments, either over their tloors or

reality of purely

and

though

frontons of temples, to adorn


little

false

the right-hand side, however, where the

scale.

first

sight so obvious,

is

in

nothing more than wooden posts

seen at a glance at Sanchi, and other

On

same form of battlement which

this side of the hall, at the top


is

so frequently represented in

the sculptures of Nineveh, but of which no ancient example exists (so far as
is

^.

now known)

in

Hindostan.

VIHARA

"\

TEXT

No.

AT AIUNTA,

II,

in age to the last described

is

No.

ii,

interior arrangement, but rather smaller,

width only 28

feet

6 inches.

Notwithstanding

porting the roof, very clumsily introduced,

of

supports

afterwards

used,

though

introduction

became

being
their

so

the rule, not the exception.

The
good

external fa9ade
taste,

consisting

very similar to the last in

its

this

length being 37
it

feet,

and probably the

first

example

^I

is plain, but in

of four

plain

octagonal piers with bracket capitals,


r^-

standing in a plain panelled stylobate

approached by a

flight of

steps

the

whole design being very appropriate


its

to
ILAN' OF VIHARA NO. II.
SCALE 50 FEET TO I INCH.

position,

12

>t-

its

has four pillars sup-

VERANDAH OF CAVE

T NTERNALLY

the

roof

of

No. ii. AJUNTA.

verandah has

the

been

probably at an age subsequent to the excavation,

much

obliterated.

Its paintings,

painted,

and

is

however, possess no historical

though

now

very

interest,

as

they consist only of architectural patterns and borders, exhibiting what might

be called a mixture of Classic and Assyrian designs.

The doorway
with two

On
pillars

lions'

leading to the interior

simple,

and the steps are adorned

heads of good design, and well executed.

either side

is

a large square window, separated into three lights by two

standing on the

cills.

These are square

height, but change into octagons


to the square form just

extent the

is

mode

and then

below the

capitals.

of decoration adopted for

in every part of India, so

for the greater jDart of their

into figures of sixteen sides, returning

This being to a greater or

all pillars,

less

not only at Ajunta, but

long as anything like a pure Hindoo style prevailed.


1.3

EXTERIOR OF VIHARA

"XT

UMBER

13

is

Under

it

left

either in its

and

unfinished,

which an opinion as

what age

to its

it

is

two

arrangements or

a large Vihara, No. 14, has been commenced, as

a lower storey, but at

been

No. 14. AJUNTA.

a small cave situate high up the rock with only

and nothing worthy of remark


tecture.

its

if

to

not very clear, as for some reason

possesses no

sculptures

The

age can be deduced.

cells,

archi-

form

it

has

and no paintings from


details of

its

pillars are

no similar example known

to exist

elsewhere from which even an approximate date can be ascertained.

Their

peculiar, so

style,

much

however,

is

so,

indeed, that there

so pure

is

and good, and there

are of the age their position in the series


oldest examples of

Cave

architecture.

14

no reason

is

would

indicate,

to

doubt that they

and rank among the

INTERIOR OF VERANDAH

'T'^HE form

No. 14. AJUNTA.

of the pillars of the verandah are square, divided by three

bands forming compartments which are fluted exactly as

is

flat

seen at the

old Louvre or Tuileries, and other examples of Renaissance, but above this they
slope inwai-ds in a
liy

manner peculiar to Indian

This form was adopted

architecture.

the Hindoos in order that the abacus of the capital should not extend

beyond the diameter of the


they obtained

In other words

shaft.

a pillar with a

well

marked

it

was a device by which

capital out of a straight lined

block of stone, with the least waste of material.

As

will

be seen

in the view,

the two pillars at the end of the verandah are prepared to be so adorned.

The
liere,

inner wall

but

is

is

arranged

more than

unfinished, or from

its

in a similar

manner

usually plain, though

having

this

to that of all the Viharas

may

arise

from

its

being

been covered witli cluuiam, and painted, but

these adornments liave iicrished, as

is

the case in almost all

llie

venindaiis at

Ajunta.

*i<

-^

VIHARA

"\ T

UMBER
recently

15

a small plain Cave, the interior of which was

is

filled

above, so as to render

be ascribed that the


obliterated.

scription of

mentioned,
sculpture of

up with mud, which had washed


it

it

its

To

inaccessible.

pillars

This Cave has

its

No. 15. ATUNTA.

of the

now

the

in

same cause

verandah have

fallen

till

very

from a torrent
it"

may perhaps

down and been

apparently been cleaned out, but no de-

has reached this country;

and owing

to

the causes above-

external appearance presents nothing remarkable, except the

doorway, which appears

siderable care, and in a

good

to

have been executed with con-

style of art.

16

->t
*h-

VIHARA

"IVT

UMBERS

No.

ft.

is

two most interesting Caves

pillars,

in painting

at Ajunta,

concerned, the most so in India.


is

a square cave, 67

The centre

2 in. deep, exclusive of the sanctuaiy.

by twenty
adorned

17 are the

painting

represented in the above view,

16,

and 65

and

i6

in so far as

No. i6. AJUNTA.

generally of an octagonal

with something like a

form,

Roman

hall

ft.

is

in.

wide,

surrounded

the sides of which are


scroll,

alternating with

wreaths of flowers.
All the details of the architecture of this Cave are particularly good and
elegant,

more

eighteen cells surrounding the great

with his

feet

interesting,
liave

There are no side chapels, but

so than any other in this series.

down.

Some

hall.

The

figure

the sanctuary

is

seated

of the paintings are tolerably entire and extremely

though not so much so as those

been copied by Major

(iill

in

in the

facsimile,

next cave.

Most

of these

and these copies are udw

exhibited in the Indian Court of the Crystal Palace at Sydenham.

VERANDAH OF CAVE

'T^HE
-*-

verandah of

this

Cave, No.

No. i6. AJUNTA.

i6,

is

supported by plain octagonal

capitals, not unlike those of

columns with bracket

No.

1,

and

its

roof

is

ornamented with paintings of singularly elegant design, but which unfortunately


have been very much destroyed by exposure to atmospheric influences.

There are no inscriptions


us

to

fix

their date

with

in the

Caves Nos. i6 and

certainty,

17,

which would enable

but from such data as

exist,

and such

analogies as are available for comparison in other Caves, there can be

doubt but that they belong to the seventh or eighth centuries.

we

cannot be mistaken

between what

in

if

we

assert

Europe we should

that they
call

At

all

little

events

were excavated and painted

the age of Justinian

Charlemagne, but probably nearer the age of the

first

than

and that of
second-named

emperor.

The doorway

leading into the central hall

adorned with one pilaster similar

Cave No.

in

is

unusually plain, being merely

design to the pillar in the verandah of

11.

18

i<-

,***W...

p:xteriur of VIHAKA No. ry. ajunta.

"\T

UMBER

resembles the
are 64

ft.

by 63

the other.

as

17, or,

ft.

It is

it

last

and

it

is

generally called, the Zodiac Cave, very

described in almost every respect.

has twenty

pillars

not, however, so lofty,

no means so graceful or well designed as


adorn every part of the Vihara are

dimensions

disposed in the same manner as in

and the
in

much more

the series, and though the colours in

Its

much

details of the pillars are

No.

16.

The

entire than in

some places are a good

by

paintings which

any other cave of


deal faded, they

are preserved to such an extent at least that their subjects can generally be

made

out.

The

pdlars

of the verandah, like

most of those of the age, are plain

octagons with bracket capitals, but their bases


than usual.

19

^-

in

this

Cave

are

more elegant

VERANDAH OF CAVE

A T

No. 17. AJUNTA.

the end of the verandah in this view


or so called zodiac, from

simile of

it

is

now

which

this

at the Crystal Palace,

terrestial scenes^ divided into

is

dimly seen the circular painting

Vihara derives

Sydenham.

compartments by the spokes of

always was a favourite emblem with Buddhists.


also very beautifully

The

a wheel,

which

still

in

is

veiy perfect

Rome

in design,

of course inferior in execution.

Over the door are painted eight


are

fac-

roof of the verandah

adorned with paintings, which are

preservation, not unlike those found in the baths of Titus at


])ut

name.

its

It evidently represents

black,

the

fifth

fairer,

figures sitting cross-legged.

the next

European, and wearing a crown.

It

still

more

so,

may be remarked

black people represented in this cave than in any other


are generally

fair,

but the

men

the last

The
as

first

that there are

the

four

fair as

an

more

women, however,

are of all shades, from jet black to an

European

complexion.

-^

AISLE IN HALL OF VIHARA No. 17. AJUNTA.

VIEW

A
^

in the interior of

pillars internally

Vihara No.

17, .representing

the

first

row of

from the entrance.

The two immediately in front of the doorway are as elegant as any pillars at
The corresponding pair facing them opposite the sanctuary are richer

Ajunta.

The remaining

but less graceful.


capitals

and no bases, but

all

sixteen are

richly painted.

plain octagons with

The

do duty as transverse brackets supportmg the beams of the


to this Cave, though the wooden construction of the roof
in all,
it is

and

is

identical with that

now used throughout

bracket

figures of fat boys

India.

who

roof, are peculiar


itself is

the

same

In this instance

of course repeated in the rock.

The
part of

great interest of
its

interior

tliis

Cave

is

centered in the frescoes which cover eveiy

those of the roof in geometrical patterns like those of the

verandah, and those of the walls representing legendary scenes from the
Buddha and other celebrated IJuddhist worthies.

life

of

PORCH OF CHAITVA

'T^HIS

and the next eleven views are devoted

which

is

by

far the richest

perhaps the most so in India.

by 23

ft.

Xo. 19. AJUNTA.

pillars

It is

Init

hand of

suffered at all from the

Chaitya Cave No.

19,

in this series,

not large, however, being only 46

ft.

in.

nave being surrounded

7 in. in width, the

by only seventeen

to the

and most complete of those

it

lias

scarcely

time, and all

its

ornaments being sculptured, they remain as distinct


at tlie present

There
this

is

Cave.

day as when

nothing to
It

last described,

is

fix

first

executed.

with certainty the age of

certainly later than the Viharas

and cotemporary with some of those

which follow, while there are analogies and other


circumstances which cannot be detailed here, which

render

it

probable that

it

was excavated about

the
I'l.AN

eighth century of our era.

i*-

C11--

CHAITVA NO.

scale, 50 keet to

ig.

in-ch.

GREAT WINDOW OF CHAITYA

"D EPRESENTS

the upper part of the fa5ade, the lower or entrance part of

which was shown

ment

as the first

niches and
that,

if

little

in the last view.

Cave described

It

but, as will

shows the same general arrangebe observed, the purely wooden

become considerably modified

decorations have

No. 19. AJUNTA.

in

semicircular canopies have lost so

The

the course of time.

much

of their

wooden

origin

they could not be traced back, their derivation would hardly be suspected.

The wooden

forms, however,

still

remain the same on the inner face of the

great arch, and in the overhanging part of the rock which crowns the facade.

This sjiows the same beam and


\"iliara described,

and

is,

rafter

arrangement as the verandah of the

last

indeed, universal througliout India.

-*

^^

LOWER PART OF FACADE OF CHAITYA

npniS

view represents the sculpture on the right-hand side of the lower part

of the fa9ade of Chaitya

hand of
ment he
by the

in the

is

The

19.

Buddha

principal figure on the right

giving alms.

In the next compart-

standing in front of a daghopa, richly ornamented and surmounted

triple umbrella, standing


is,

in fact,

on the

tee,

which

is

this also

is

in

is

Below

this

an inferior style of

he

art.

24

is

is

emblem

in

seen inside the Cave

picture, he

attitude, as preaching, his right

but the style of the sculpture

suspicion of a later date.

so universal an

merely a repetition of what

Above, on the upper right-hand corner of the


most usual standing

his left raised

but

Cave No.

the entrance represents

these times, and


itself

No. 19. AJUNTA.

is

represented,

hand hanging down,

so far inferior as to lead to the

represented seated cross- legged,

-^i

LOWER PART OF FACADE OF CHAITVA

/^^N

the left of the entrance, as you look towards

is

seated cross-legged over a shrine,

in the front of

of himself standing under a very rich canopy.


of the same two figures as

partments, and range

do on the other

side.

ment of the Hindoo

The two

pillars

same

Buddha

which

is

Beyond these

bounded the composition

this position they are apparently in the

much

it,

is

represented

In the next compartment

standing in the usual attitude of exposition.-

he

No. 19. AJUNTA.

another figure
are repetitions

in the last view,

but in

style of art as the central

com-

better with the architectural composition than they

Beyond, on the extreme

left,

shrine described further on as

No.

which support the porch, and the

these various sculptured groups, are

all

is

seen the

commence-

33.

pilasters

which separate

covered with the most elaborate orna-

mentation, as delicate in execution as any found at Ajunta, and generally

in

better preservation than such sculptures usually are in positions eqi'ally exposed.

-*

INTERIOR OF CHAITVA

"V

TIEW

taken from the entrance showing the arrangement of the interior

and
light

Nu. 19. AJUNTA.

illustrating also the effect of the

being introduced

mode

The whole

of lighting.

through one great opening

in

the

centre

of the

fa5ade throws a brilliant light on the altar the principal object - and also in
the triforium belt and the capitals of the pillars, being exactly where

most wanted

The

light

for artistic effect.

on the

parative gloom.

floor
It

is

is

The

it

is

spectator himself stands in the shade.

subdued, and the roof and

perhaps the most

artistic

mode

aisles fade

into

com-

of lighting a building

of this class that has ever been invented, certainly superior to anything that

was done by the Romans, or during the middle


the brilliant climate of India to admit of
but, for a small

worsliippers

is

chapel or room,

its

ages.

It

might require

application to any large hall

the one great light behind and above the

the most perfect arrangement which has yet been attem])tcd.


26

*^'*

ROOF OF CHAITVA,

'V

TIEW

in

still

retains the

wooden forms of

ribs

The upper

part of the

three umbrellas, but these have departed

still

roof,

with a ridge piece, though

the rock they are probably stouter and thicker than they were

really executed in timber.


its

t9.~AJUNTA,

taken from the upper gallery, showing the construction of the

which
being cut

No.

daghopa

is

when

also seen, with

further from their

wooden

pro-

totypes, and are fast approaching those forms which gaveiise to the three, six,

and nine-storied towers of the


day

in

China.

hemispherical
lirst
is

and which are

dome surmounted by

sight apparent

still

built at the present

the porcelain tower at Nankin, and a

wooden umbrella,

but there are few things more

is

certainly not

at

clear than that the one

the direct hneal descendant of the other, and every step of the change can

be pointed

*-

Jains,

The connexion between

out.

f.M.|^'.feJ*^1'->:^

''''^''''.fy^Zi-^'^~-ei^r'*,'^^

TRIFORTUM OF CHAITVA.

""

19.-AJUNTA.

""HIS and the three follownig views represent four different portions of

Cave No.

triforium belt of the

decoration as
lie

No.

is

to

be found

purer and in better

in

19,

and form

any Buddhist cave

as rich a piece of sculptured

though many may

in India,

taste.

It is also interesting as illustrating the

process of change from

]-)lain

The Romanesque

in great Hat surfaces as in

trary, trusted

and

also in Greece.

very

little to

Cave No.

colour, but

jo.

depended

pamtmg

own

carving which took place in India as in the middle ages in our

and probably

tlie

architects left all their

The Gothic

artists,

to

country,

masonry

on the con-

chiefly on relief for their

shadow

effects.

.So

much

far as

can be

made

out, the subjects painted in

Cave No.

the same as those represented here, but have perished

the less durable materials

in

in

10

were very

consequence of

whicli they were executed.


2.S

TRIFORIUM OF CHAITYA,

will

A^
roclv

be seen

19. AJUNTA.

No.

whole surface was covcied

in all those interior views, the

with a thin coating of

chunam

so as entirely to hide the surface of the

but the sculptors never seem to have thought that

them from using the same amount of elaboration


were

to

way

for the

be

left plain.

Though

may be supposed

it

purpose of being painted,

it

this

could excuse

in their carving as

they

if

they were prepared in this

does not appear that any colour was

in this instance applied.

There

is

not

These

consist

sitting

ones

much

variety in the sculptures of the

of alternate

all

and standing

sitting

triforium belt

itself

of Buddha.

The

cross-legged, the only variety being in the position of the

hands, to which Buddhists attach

much importance.

a standing figure in the usual attitude of exposition,


all is

figures

Between each of these


and though the attitude

is

in

very nearly the same, no two figures are exactly alike, and the variations

have probably more meaning than

is

apparent to the casual observer.


29

TRIFORIUM OF CHAITVA

/^~^

REAT

richness of effect

tures of the capitals.

is

No. 19. AJUNTA.

given to this interior by the elaborate sculp-

These

in every instance,

consist,

of a square

niche containing a seated figure of Buddha, only very slightly varied.

The

brackets on either side of the central block differ every one from the other,

and consist of figures of

men on

men and women

horseback, or elephants, of

griffins,

in the

most violent attitudes; of

and dragons

in

short, a

whole

legendary history of Buddhism and of Buddhist symbolism, for there cannot

be a doubt but that each composition had a legend attached to

we can now only

we

can hardly

identify a very

feel certain that

few of these fragmentary groups.

we know

the subject of

circumstantial pictures painted on the walls of

30

tiie

all

it,

though
Indeed,

the larger and

Viharas.

more

TRIFORIUM OF CHAITVA

'

No. 19. AJUNTA.

"'HE spaces between the figure-sculptures are

filled in

triforium belt, of the usual patterns of the age.

they are

all different,

Human

tion.

with

scrolls, in the

a matter of course

and show a considerable amount of design and elabora-

masks, and dragons' heads, and other fantastic devices, are

frequently mixed with the foliage,


too,

As

and add considerably

are evidently all copied from painted originals,

to the effect.

and have not

They,
in

this

instance attained that architectural formality which they afterwards acquired,

and which

The

so essential to true architectural effect.

is

shafts

ornaments,

of the pillars of the nave are

the ornament on

and never
it

also covered

with sculptured

but as these were essential constructive parts of the building,

them

is

of a

much

soberer and

more

architectural

form,

interferes with the outline or the constructive effect of the columjis

ornaments.

-^

-..'*:i^^^^#(4%**^^#^:

CHOULTRIE ATTACHED TO CHAITVA

/^\N
^"^^

the right-hand side, as

you

No.

ly. AJUNTA.

enter,

is

a small porch, extending at right

This

is

not a Vihara, or residence, but a

angles to the main fa9ade.

Choultrie, or place of refuge or I'epose for pilgrims or attendants.

The

front consists of

composition
It

])art

is

may be
of

its

afterwards at
If this

mode

at
11

is

pillars

same age

of the

its

capitals

so,

it

its

purposes.

but there

is

which would lead us

some more modern

not

of very graceful design, and the whole

as the C'haitya to

original arrangements,

sjulpture of

two

pleasing and appropriate to

may be

which

it

belongs, and form a

a certain character about the


to suspect that

it

was added

date.

considered as one of the very earliest e.xamples of

of changing a circular form into a square one, by a leaf falling over

the angles.

It

ji\ersal in Indian

is

somewhat clumsily used

arcliilceturc.

here,

but afterwards became

->^i

lilXDOO SCULPTURE.

OPPOSITE

CIIAITYxV Nu. 19. AJUNTA.

to the Choultrie last described

ably more

modern date than

is

an'alto-relievo of a consider-

the Chaitya to which

it is

attached, and

probably the only thing that can be ascribed to the Brahmans at Ajunta.
It represents

a very

Vishnu

sitting

under the canopy of the seven-headed snake

common Brahmanical arrangement

with

Sareswati by his side.

On

the other side stands an attendant with a chowrie in his hand.

Though more modem than


group was carved

after the

the Chaitya,

it is

before the final expulsion of the Buddhists,

hand, and this piece of sculpture

Hindoo

sculpture, that

end of the
In

it

not necessary to assume that this

Caves were deserted.

is

must be old

when

There were
the

inten'als long

Brahmans had the upper

so free from the usual extravagance of

older probably

than the Caves at either

series.

style, it

resembles very

much

the sculptures at Elephanta, and

some of

those at Ellora.

33

-^

CAVE

'
I

""HE

last of

this

group

is

No. 20. AJUNTA.

a small Vihara of somewhat singular plan.

Its

dimensions are twenty-eight feet two inches wide, by twenty- five feet
six

deep.

inches

There

is

no

It

possesses

internal colonnade,

four

cells

sanctuai-y about seven feet into the hall

columns

There
capitals.

for

but the roof

is

two on each

monks,

side.

supported by advancing the

and making

its

front consist of

two

in antis.
is

also a

The

verandah

in front,

sculpture of these

capitals in the interior of

is

Cave No.

supported by two pillars with bracket


bold and
19,

free,

resembling that of the

though somewhat better executed.

Unfortunately, like everything in this Cave, the fagade

from flaws and

is

a good deal rained

faults in the rock.

34

>i

CAVE

'T^HE

No. 20. AJUNTA.

paintings that once adorned this

terated, except those

on the

roof.

Cave are now ahnost


Those which

exist consist of frets

but do not possess any particular interest

and flowers,

the connexion of this

Cave with the Viharas 16 and

17,

entirely obli-

showing

beyond

whose paintings

are

identical in style.

This Cave has been used as a worl<shop and occasional residence by Major
(iill

during the twenty years he has remained at Ajunta, and were


of procuring

tlie difficulty

but that their

dr)a-iess

pleasant places to live

With
V. ill

this

now be

Caves

sufficient light in the interior, there

and equable temperature would render these caves very


in.

Cave the great

central group terminates in this direction

necessaiy to desci'ibe the third group, consisting of the

in the north,

not for

it

can be no doubt

first

and

it

seven

and then to take up the fourth, though probably cotem-

porary group, consisting of the

last six at

35

the southern end.

-^

FACADE CAVE

1\ T

UMBER
some

It consists
in

is

peculiar

among

No. 7. AjUXTA.

the Caves of Ajunta, though not

at Ciittack.

merely of a large verandah 63

ft.

in. in

breadth, with the cells opening at the back of

verandah

is

unlike

length, by 13

The

it.

ft.

broken by the projection of two porches, of two

pillars each.

These are particularly interesting here, as they are extremely similar


pillars at

Elephanta, and those in the

probably not

far distant in date.

Doomar Lena

There

is

7 in.

front line of the

at Ellora,

also a chapel with

to the

and therefore
two

pillars at

each end of the verandah.

Though

it

cannot pretend to rival in magnificence some of the other

Viharas at Ajunta, as an architectural composition

any others

externally at

it is

probably as pleasing as

least.

36

>t

CAVE

XT UMBER 6

is

the only two-storied

been excavated
places.

Xo. 6. AJUXTA

in

Cave

at Ajunta, but has unfortunately

a spot where the rock

is

not so sound as in other

In consequence of this the verandah of the upper storey has fallen

down, and the

interior has a

damp and

ruined aspect, not

common

in

Cave

architecture.

The

halls of

both

stories are of

upper having twelve

pillars.

the

same dimensions, 53

In the lower, four more

are

ft.

square, the

introduced in

the centre.

The

pillars in front of the

sanctuary are of the same Elephanta order as in

the last described Cave, with cushioi*! capitals, and fluted.


It

will

be observed

in the

above view of the facade there M-as a figure

standing in the nook shaft on each side of the doorway, but


its

absence giving an

awkward

it

has fallen away,

appearance to the design.


37

-*

FACADE CAVE

"IV

UMBER

5 is a small

unfinished, so that
as the series of

On

Cave with no remarkable

it

is

it

may probably rank

careful examination,

however,

though of the same order as the next


design that
state

it

would

attempted

peculiarity about

impossible to be quite certain of

its

it,

and

age, but

Caves seem to have gradually extentled from the central groups

towards the extremities,


described.

No. 5. AJUNTA.

may

it

next in time to the last


will

in succession,

be seen that

No.

4,

are so inferior in

probably be an insertion of a later date, and

also lead to

tlie

supposition that

it

its pillars,

its

may be among

unfinished

those

last

at this place.

.^8

FACADE OF CAVE

'T^HE

fourth

Cave from the end

is

No. 4. AJUNTA.

situated higher

up

others at this end of the series, and as the path to


it

when

its

existence

leaving

too

till

late to return.

such intimate knowledge of


as to

its

age or any of

both from
looks as

its

if it

perceived

its

it

it,

that I

enal)le

This

me
is

to speak confidently either

the

more

to

be regretted

dimensions as well as from the simple grandeur of

were one of the

finest

was not

have therefore no dimensions and no

arrangements.

as

than the

from the opposite side of the valley

would

it

cliff

has broken away,

was so completely hid from below by the ledge in front of

aware of

the

in
it

Viharas of the

as,

its details,

it

series.

39

-*

INTERIOR OF VERANDAH, CAVE

nnHE verandah of this Cave

is

No.

4. AJUNTA.

supported apparently by eight

pillars in front

simple octagons with bracket capitals, but without bases, or any inter-

mediate

member to break

the shaft, but the whole

Cave architecture

the abruptness of the clmnge between the capital and

is

more

massive and plain, and consequently appropriate to

so indeed than

many

of the

more elaborate designs

which are found

in this as well in all the other gi-oups of Caves,

among

modern

those so

as this

one evidently

more

especially

is.

-fo

*i*

-*

SCULPTURE

'"T^HE

wall

painted,

I\

at the

which

back of the verandah


is

date of the excavation.

character

we

Its presence,

VERANDAH OE CAVE

is

No.

4. AJUNTA.

sculptured instead of being

unusual at Ajunta, and an evidence for the modern

The

style

of the sculpture, too,

has more of the

are accustomed to associate with Jaina than with Buddhist art.

however, gives a richness of

effect to this

ing in the others, where the paintings have been

verandah which

washed

off,

is

want-

from the exposed

nature of the situation.

TT?TtllIlJI

41
>-:*

>.^-

*''*

EXTERIOR, CAVE

nr'HE

second Cave from the north end

given a plan at page

on the

ings, particularly
is

No. 2. AJUNTA.

It is in

xviii.

pillars,

is

are tolerably perfect.

a statue, of course of Buddha, and there

end of the

position.

Though
modern
])erfect

is

in

the south one,

they were meant

the dimensions of

its

in

two male

to represent

is

it

is

figures

by no means

hall are only 48

(ninth or tentli century probalily),

Vihara as any existing

is

In the sanctuary there

a chapel on each side of

In the one on the north are two most portly,

aisles.

a male and female

Who

a twelve-pillared Vihara, of which

very good preservation, and the paint-

ft.

at the

fat figures,

occupying a like
clear.

square, and

as complete an

Ajunta or elsewliere.

it,

its

age very

example of a

VERANDAH, CAVE

npHE

verandah

is

supported by four

tolerably elegant design.


this

pillars

The lower

work.

two principal

At

cells,

either

also a rich

it

life

These are covered with the

a smaller porch

of Buddha.

and elegant specimen of

4.^

of sixteen sides, above

be almost better suited

the difference in height being

representing scenes from the


is

end of

as to

is

but their principal ornaments

which surround them.

most elegant ornaments, so delicate


for stone

very massive form and

of

portion

they are adorned with thirty-two flutes

are arranged in the belts

hall

No. 2. AJUNTA.

for

metal than

stands in front of the

made up by

The doorway

bassi-relievi

leading into the

its class.

'^

VERANDAH, CAVE

'Tn'HE

principal effect of

those on the ceiling.

tliis

Cave

is

No. 2. AJUNTA.

derived from

its

paintings, especially

These are not of the same high

class of his-

torical paintings which adorn the Viharas 16 and 17, being generally only

decorative scrolls and patterns, but as architectural ornaments, they are

complete and elaborate than those found

in

the

more

and being

other Caves,

generally appropriate to the situation in which they are placed, they give a
greater effect of finish to this
gether,

there

is

Cave than

perhaps no Cave

at

is

usual at Ajunta.

this place

Taken

from which the

effect

alto-

and

arrangements of a complete Vihara can be better understood than they can


from

this

example.

"^7

FACADE, CAVE

^pHE

first

Cave

the handsomest exterior of


feet square,

richly carved,

The
Its

ail

and with bold bracket

all

I.

AJUNTA.

the Viharas of Ajunta.

adorned with twenty pdlars, each

interior has

most highly ornamented, perhaps

been a good deal

paintings are tolerably entire, and

sculpture and

i.

that begins, or rather ends, "the series in


the northerly

direction, possesses the

64

No.

^ 'WW

ft.

it

miglit be said,

Tlie hall of
in

diameter,

its

all

interior

is

of them

capitals.

filled

with mud, but notwithstanding

some of them

this.

are interesting, but like the

the details of the architecture, they are small,


and frittered

away, and possess nothing of that breadth of


treatment which characterizes

some

of the older e.xcavations.

-)5

i^

*t

FACADE, CAVE

'
I

^IIE verandah of
as usual in a

with two pillars

Cave

this

cell at

in antis,

9S

ft.

in

length internally, and terminates

each end, but externally

it

has, besides, a chapel,

wliich adds considerably to the architectural effect

of the fa9ade, and in this respect

where these two

is

No. i. AJUNTA.

is

pillars are internal,

preferable to the arrangement in No.

and consequently are hardly seen

2,

in con-

junction with the facade.

As

originally executed, there

advance of the

six

which are

was an outer porch of two

still

perfect.

These

latter,

su]ipnrt of the verandah, are of three different orders

the half columns

at either end.

The

pillars

standing

which form

or rather four,

in

the real

counting

outer pillars are merely scpiare

piers,

but they increase in richness of decoration from the flanks to the centre, where
they are richly decorated circular

shaft.s,

with bold bracket capitals.

46
i

^
^tSf'^fKi

FACADE, CAVE

""

"*HE two central

pillars of the six

No. i. AJUNTA.

which remain have circular

shafts,

with

perpendicular flutings in bands, sixteen-sidetl above and below, and


thirty-two in the two middle compartments.

The two

next on either hand have diagonal flutings, and less ornament at

the top and bottom.

The two beyond

these are comparatively plain octagons,

with only slight

ornamental markings, and the half columns are square, with only a circular
necking below the square block of the capital.

All these

pillars,

have bracket capitals of similar design, though the sculpture in each

The whole

effect

is

that of a well considered

however,
is

varied.

and carefully elaborated design,

though, perhaps, hardly so appropriate to rock architecture as the design of

No.

4,

and some of the simpler Caves of the

series.

47

FACADE, CAVE

TT

not easy to

is

centre.

it

Taking
as
is

is

the design of the two advanced cohimns in the

we

remains

frieze of sculpture \\as carried

binding

to

i.~AJUXTA.

can see that they had not bracl^et

but were similar to those of the Cave last described (No.

capitals,

double

make out

From what

No.

it

altogether, this facade

be found in

is

perhaps as pleasing a specimen of design

this style of architecture.

composed are condemned, the whole system

for

variety

and there

which

same

si/.e

but the

toirether as a whole.

amount of
jioses,

2),

round them as along the whole facade,

it

is

combined with

If the principles
falls

but

it

on which

seems there

is

it

an

sufficient uniformity for architectural pur-

a richness of effect produced by the whole composition,

would not be easy

to

quote a

or pretensions.

4X

rival

in

any other building of the

-;^

IXTERIOR OF VERANDAH, CAVE

T NTERNALLV

No. r. AJUNTA.

the verandah does not present so pleasing an aspect at the

present day as the exterior, in consequence of


effect principally

Owing

to the

its

having depended

on paintings, and these have perished.

shadows, the internal photograph shows better than those of

the exterior the system on which these pillars are designed.


cubical base,

the same height for

shaft also uniform in height.


at

each angle.

top and bottom.

but

all

In the centre

The

all.

On

this

pillars this

First, a scpiare

an octagonal frustruni of a

broken by a seated

transition being

figure

changes into a sixteen-sided figure at

In the next two only at the top, on the outside ones not at

have belts of tliirtytwo sides

observable not only throughout

Hindoo thought

for

in the centres,

their

the

architecture,

but

all

same system being


in

every phase of

or design.

49

DOORWAY, CAVE

^
I

""HE doorway

is

No. i. AJUXTA.

hardly so rich as might be expected in so elalmrately

ornamented a Cave,

chunam, traces of which

Ijut

it is

still

time heightened by colour.

pleasing in design, and as

remain,

Besides

it is

probable that

this,

it

it

its

was covered with


effect

must be remembered

only one feature in what once was a richly decorated wall, and
correct architectural taste to
in bold relief

tame and

Two

keep

would have tended

it

was

subdued.

that

if so, it

richly sculptured

to render the flat paintings

at

one
it

is

showed
design

on either hand,

insipid.

of the internal pillars can be seen dimly through the opening.

are similar in design to those of the exterior.

twenty of these, each three

feet in diameter.

As

They

before mentioned, there are

VERANDAH, CAVE

"D ETURNING to the southern end,


-*-^

51

ft.

in.

by 52

ft,

No. 21. AJUNTA.

the next Cave (No. 21)

is

but not quite finished, the

in.

a large

Vihara

pillar.s

of the

sanctuary being merely blocked out.

In style and detail

it

is

very similar to the Cave No.

2,

at the other end,

showing the same exuberance of ornament, but with the same weakness of
design and detail.
Besides the sanctuary, there are four chapels in this Cave, one on each side

and one
in antis.

at each

end of the two

residential cells,

show only too

was becoming lost at the time

Two

aisles,

mode

Their frequency, and the

clearly

when

this

and

of these have

two

how

the original idea of the Vihara

one was excavated.


still

above view, and though the

also remain,
pillars

one of which

{<.

and showinrr the character of

its

details.

is

of the front of the

verandah are gone, the end pier on both sides remains, marking
sions

pillars

which they have superseded the

chapels at the ends of the verandah

represented in the

all

in

its

dimen-

DOORWAY, CAVE

nn H E
the

doorway
same

that leads into the

littleness as

all

No.

Cave No.

has

tlie

same

elegance, but

its

modem

date.

and with a

It is still

al:)Out its

can be no doubt

being earlier than that epoch.

Internally
left

after the tenth or eleventh century, that there

how-

Indian

so free from the extravagance that too generally prevailed in

architecture,

your

the other parts of this Vihara,

tendency towards Hindooism indicative of


ever,

21. AJUNTA.

its

hand

paintings are

as

you

enter,

now

nearly obliterated, except on the wall on

where there

still

exists a large figure of

Buddha,

of a black complexion, or at least very dark, but with led hair, and attended

by black

slaves.

There are several

ladies introduced into the composition, but

notwithstanding the blackness of their companions they are here, as in most


other Caves, represented with complexions almost as fair as Europeans.

->i*

CAVE

'

"HE

Vihara No. 22

is

No. 22. AlUNTA.

a small Cave,

only 17

ft.

square, without pillars

except two, which are merely rough hewn, in front of the sanctuary.

The whole Cave,

owing

which

It is

it

has the appearance of having been

to the fac^ade

having fallen

it

left

may once have

down from

unfinished

had,

is

now

the decay of the rock in

was sculptured.

now used

followers,

and

fact,

and whatever external decoration

internally,
lost,

iii

whose

stations will

as a residence,

not by Major Gill himself, at least by his

Their various ranks

be easily recognised by any one familiar with an Indian

household, from the

mehtur boy, who

if

portraits are seen in the photograph.

is

fierce

sitting

jemadar,

who

is

attitudinizing

on the

with his back against the door-janih on

53

right, to the
tiie left.

FACADE, CAVE

TV T

UMBER

23

to Nos. 2

is

No. 23. AJUNTA.

anotlier Vihara of twelve pillars, very similar in all respects

and

21

has however been

it

left in

a very unfinished

without even an image either ni the sanctuary, or indeed anywhere


there exists no trace of painting that could be detected in any part.
sions are 51

The

ft.

by

1 ft.

It

to an extent

was probably intended

but they, like everything

and

dimen-

bold and suitable in design to rock-cut

architecture; but they are deficient in elegance of outline,

and shallow

else,

Its

in.

pillars of its external facade are

are small

state,

and

wholly unsuited to their position.

to flute the centre pillars like those

else,

are

their details

leit

unfinished.

54

on the flanks

VERANDAH, CAVE

'

^HE

No. 23. AJUNTA.

unfinished interior of this Cave and the next one (No. 24) are interest-

ing as showing the whole process

by which 'these Caves were excavated.

In one place, what was to be a range of pillars


out with a pick.

it is

is

a wall rock roughly blocked

pierced with what look like a series of rude

In some places the pillars are shaped, in others the carving

doorways.
finished.

In another

On

the greatest

the whole,

appears that

it

amount of time and

material as amygdaloidal trap

labour.
is

it

is

The blocking

a rock-cut structure

adopted were

it

is

out of a Cave in such a

probably not a more expensive process than

building such a structure on the plain might prove.


bility of

such that

it

If this

might have been

be

far

so,

the dura-

more generally

not that the situation where they are necessarily placed

often inconvenient, and the

is

the last process that has taken

power of

lighting

them frequently

is

nisufficient.

55

FACADE,

TV T

UMBER

-'

No. 24. AJUNTA.

24 was intended to have been a twenty-pillared Cave, and,

finished,

would have measured about 74

pillar in the interior is sculptured,

ft.

and one range

if

But only one

each way.

exists only as a wall,

with

slits in it.

The

pillars of the

verandah have been

finished, but not the friezes,

which no

doubt were intended to crown them, judging from the mass of plain rock
that

is left

over them, as

From such

if

for that purpose.

details as exist,

we may

infer

that,

if

completed, this would

have been one of the most carefully finished Caves of the


In the pillars of the verandah

we have

ornament which became so fashionable

and twelfth

centuries,

Though

at Delhi

and which occurs also

which may probably be of the same

series.

another instance of the falling-leaf

and elsewhere,

in the eleventh

in the Choultrie to

Cave No.

19,

age.

so rare at Ajunta, the falling-leaf

ornament

Ellora, as will be seen in the illustrations that follow

is

almost universal

at

W;

LOWER PART OF FACADE AT CHAITVA

nr^ HOUGH

some

there are

No. 26. AJUNTA.

insignificant Caves- beyond, the preat Chaitya

No. 26 terminates the series as worthily at this end as the Vihara


No.

I,

does at the other.

In general plan

it

is

very similar to No. 19, but

7 ins.

ft.

and the

total length

series

that
at

if

is

66

ft.

indeed,

in.

more

dimensions exceed the


3 ins., that of the

nave

Its sculptures, too, are far

more

former very considerably, the whole width being 36

numerous and more elaborate

its

ft.

so than in any other

Cave of the

but they are very inferior both in design and in execution, so

much

so,

other proof were wanting, this alone would be sufficient to stamp this

once as one of the

latest, if

not actually the last executed Cave of Ajunta.

UPPER PART OF FACADE,

'T^HE

external architecture has nearly lost

No. 26. AJUNTA.

all

trace of

its

wooden

origin,

except the rafters of the great opening, which were seldom lost sight of

but

now

they are beginning to be used as shelves for figures, and the lowest

cut through to

The whole
fallen in,

which

is

make room

for

two seated Buddhas, larger than the

is

rest.

of the roof of the external porch or music gallery in front has

but so far as can be

made

out,

it

extended the whole way across,

unusual at Ajunta.

Internally the walls of the aisles, instead of being painted, are covered with
sculptures,

a reclining figure of Buddha, 23

among them

tude in which Nirvana or beatitude

by

figures so comical

religion of

Sakya

is

and extravagant

Mum

attained.

in design, as

no longer existed

was undertaken.
5^

in its

But

ft.

this

long, in the attiis

accompanied

prove too clearly that the

original purity

when

the

Cave

^-

THE

CAVES OF ELLORA.

^*
ij,

LI jj;i J jj-i-f T j..rTj"iX iA--ii.i..ijj4-.i'ij-..i T t j-.rtj


-

m. T3-^iii[;r,bA .r.f.ri

t .t-t, ;

jj

nm

INTRODUCTION,

\ LTHOUGH

do not possess

the caves at Ellora

that unity

and completeness which characterises those of Ajunta,


variety,

renders them perhaps even more

confessed they are in consequence

interesting

Cave

the other forms of

more

far

indeed, after having

It is only,

stand.

their

and the exceptional magnificence of some of them,


but

must be

it

difficult to

become

under-

familiar with all

architecture, that their history

becomes

at all intelligible.
It

is

not, therefore,

theories were

when they were

first

their complexity,

it

the

earliest

to

be wondered

announced with regard

made known

also

happened

of which

series

to

such strange

that

at

age

their

to

Europeans

that the Ellora

any trustworthy

and uses

for,

beside

Caves were

illustrations

were

published, and they consequently attracted attention at a time

when very few

materials

regarding their peculiarities.

existed

for

forming

judgment

Very correct views of them were

pubhshed by the Daniels, from drawings made by Wales,


the

first

years of this

century

and the

Colonel Sykes, and Sir Charles Mallet, have

make them known


were familiar

in

writings of Seely, of
all

contributed to

but unfortunately none of these gentlemen

at the

time they wrote

with

Cave

architecture,

them

correctly as to either age or style.

the other forms of

and they were consequently unable


6i

to classify

^
Introduction.

The

vvliole series consists

of about thirty excavations.

Of

these

ten were devoted to the rehgion of Buddha, fourteen were exca-

vated by the followers of the Brahmanical creeds, and six cannot

be

said

to

belong to either of these sects

nor can they

in

strictness be ascribed to the Jains, though their sculpture savours

more of the

tenets of their religion than those of the other two.

Architecturally the Ellora Caves differ from those of Ajunta in

consequence of
hill,

and not

being excavated in the sloping sides of a

their

in a nearly

of the ground almost


in

front of them.

an entrance through

perpendicular
all

the caves

cliff.

at

From

this formation

Ellora have courtyards

Frequently also, an outer wall of rock with


it

is

left

standing, so that the caves are not

generally seen from the outside at

all,

and a person might pass

along their front without being aware of their existence unless

warned of the

fact.

On

tecturally of the fore-court,

the other hand, the advantage archi-

and the protection

it

affords not only

from violence, but also from atmospheric influences, more than

compensate

for this defect.

^^^

62

EXTERIOR VISWAKARMA. ELLORA.

OF

Karli or Salsette, being only 43

nor

Cave

the Buddhist group, the principal

only Chaitya Cave of the

is it

so rich in

its

details as the

Internally the design

of"

The two

and

simplicity.

rich

and handsome

ft.

the

It

series.

wide

two

Temple

pillars that

is

the so-called Viswakarma, the

is

neither so large as those of

internally,

later

is

and 83

ft.

in. in

length

Chaityas at Ajunta.

marked with considerable elegance

support the gallery over the entrance are

the twenty-eight others are simple octagons, changing for

a short portion of their height into a figure of sixteen sides.

In front of the daghopa

by

flying figures

is

Buddha

seated with his feet down, and surrounded

and Genii, savouring much more of Brahmanism than the

purer religion of the Ascetic, and throughout the whole of the interior the
sculptures are

much more

alteration in style,

Buddha had

secular than

in fact,

is

m any other

Buddhist excavation.

The

so obvious, as to prove that the religion of

lost all its primitive force

and

originality before this

excavated, and was fast merging into these religions that superseded

63

Cave was
it.

EXTERIOR VISWAKARMA. ELLORA.

THE most
On
pillars of

novel and interesting feature in the Viswakarma

three sides

it

is

is

its

court.

surrounded by a colonnade of good design, the

which, instead of the bracket capital so universal elsewhere, have

Above

an exaggerated abacus peculiar to Ellora.

this runs

frieze, filled

with elephants and animals of the chase, singularly well executed, and above
this

again a balustrade, each compartment of which contains a male and

female figm-e of very anti-Buddhistical design.

The

great peculiarity of this Cave, however,

simple semicircular

window over

into three compartments,

something

represents a form of architecture

is,

that instead of the great

the entrance, the opening


like

what we

call

is

more removed from the wooden

modern

that

it

original than

The

canopies

seems impossible

to carry

any other example of a Chaitya Cave we are acquainted with.


over the side windows also are so

here divided

a Venetian window, and

the date of their execution beyond the seventh or eighth century, while

be even more modern.

64

it

may

-^

^T,.-.

-v

VIHARA. ELLORA.

*'

""HE principal Vihara attached to

Chaitya

this

one of the largest excavations of


70

ft.

its

in width, including the side recesses.

to have a

good

effect architecturally,

and

is

class,

that called

Unfortunately
its

Dehr warra,

no

being

it is

ft.

deep by

much

too low

details are infinitely inferior to

those of Ajunta of the same age.

The

other Viharas are smaller

about

the

Ajunta, and more similar to them in plan.


tecture are almost all identical,

as

in

this

Viswakarma, and they seem so much alike

same average
But the

size as

those

of

details of their archi-

illustration,

with

in style that all

those of the

were probably

executed within the limits of the same century as the Chaitya itself, most

probably

all

within the limit of one thousand years from this date.

6.S

^i^-<^y-

TEEN TAL. ELLORA.

IMMEDIATELY

to the north of the

Buddhist group just described are

three Caves, which are singularly interesting as shoM'ing the steps

which a Buddhist Vihara was converted

The
stories.

Do

called

first,

Most of

its

may be assumed
Buddhistic in

or

Tal,

into a

Dookya Ghur,

is

a Buddhist Vihara of two

details are so similar to those

to

be,

all its details,

without doubt,

by

Brahmanical Chaori.

above described, that

of the same age.

It

is

it

strictly

and shows no more tendency towards Brahmanism


It apparently was

than what was pointed out in speaking of the Viswakarma.


intended to have three

The

next, or

Teen

very similar to the


Buddhist,

stories,

Tal, as

last ni

but has been

it

almost to justify the Brahmans

The

pillars of the
;

indicates,

arrangement and

though deviating so

Ellora type

name
far
in

left

unfinished.
is

detail.

three stories in height, and


Its sculptures, too, are all

from the usual simplicity of that style as

appropriating them as they have done.

lower storey, shown

in the illustration, are of the usual

but though bold in outline, are frittered away in detail, as

too usual at their age.

66

is

only

'^-

DUS AVATARA. ELLORA.

"HE

third of these caves

is

called the

Dus Avatara,

after the ten

Avatars

of Vishnu

a two-storied cave, very like the other two in archi-

is

tectural detail and arrangement, but essentially Hindoo in

The upper

storey

supported by 44

all

a splendid hall, measuring ico feet each

pillars

of a Vihara, there

hand,

is

is

sculptures.

its

spaced equally over the

flooi,

but in

a group of sculpture between each

the groups are to the honour of Siva and

sanctuary, in the centre of the inner wall,

the right

hand eveiything

which

aftei-wards

is

became

is

his

way

the roof

lieu of the cells

pilaster.

Parvati

On

the

left

and

in

the

emblem, the Lingam.

On

Vishnave, a curious instance of these two religions


so antagonistic

occupying

one temple, as there

can be no doubt but that these sculptures formed part of the original decorations.

The whole

of

them

are in the very best style of

Hindoo

sculpture,

perhaps superior as a whole to anything else either here or elsewhere.


67

*h

DUS AVATARA. ELLORA.

NOTHER
is

This

is

circumstance that points out the Hindoo origin of this Cave

the Mantapa, or porch,

left

standing

occupied by a statue of the bull Nundi


such

in

the centre of the court-yard.

an invariable accompaniment of Brahmanical temples, and generally

we probably must

This Porch

is

Sivite temples,

at

further interesting as being the


in

the

rock

first

known attempt

really

and

had no use

for caves,

who

to repro-

by the

thing never done

All their Caves are interiors as they ought to be.

Brahmans, who

least

consider this to be.

duce the exterior of a temple


Buddhists.

in

is

first

set the

It

was the

example of

this

architectural absurdity.
It

was evidently intended that the mass between the lower and upper

of this Cave should have been sculptured into a

frieze.

stories

This not having been

accomplished, the fa9ade has consequently a clumsy and heavy look, which

would have been relieved by the sculpture.


68

RAVANA KA KATE. ELLORA.

T) ETWEEN

the

two Caves

or Ashes of Ravana.

mentioned

last

age from that which

Among

one called Ravana ka Kaie,

though more

It is similar in design,

much

those on either hand, but hardly so


different

is

its

locality

so as to justify

would assign

to

the scenes portrayed in the sculptures of the

and Parvati playing

at choupers, a

its

florid

than

being placed in a

it.

Cave

is

game .somewhat resembling

one of

.Siva

draughts, an

engraving of which was published in the second volume of the "Transactions " of the

Below

there

Royal Asiatic Society, from a drawing by Captain Grindlay.


is

a group

of

the

Gana

dwarfs

attached to Siva's retinue

playing with, or rather tormenting the bull Nundi.

which seem

to

It is

one of those legends

have been peculiar favourites with the Hindoo sculptors, and

is

repeated several times in these Caves.

The

architecture of the

Cave

is

cushion capital and fluted shafts so

very

florid,

common
69

at

but

EUora.

all

the pillars have the

r*-

PLAN OF THE KYLAS TEMPLE AT ELLORA.

THE

ground-plan of the Kylas here given will serve to render the parts

illustrated

AA

is

by the following photographs more generally

the Gopura, or entrance gateway.

with an obelisk on each

on the

first-floor

side,

Vimana.

F,

r,,

is

E,

D, the cella

or porch,

all cut,

with the Lingam, over which

is

of
the

&c. are smaller detached Temples surrounding the great

lateral

Temples, originally connected with the great one by

One

called Lanka.

70

^-

intelligible.

Mantapa

the inner porch or pronaos, solid below, but

bridges, which, however, have fallen.


a stair at

the detached

joined to the porch and gateway by stone bridges,

course, out of the solid rock.

great Vimana.

c,

B,

of these,

now approached

only by

KVLAS. ELLORA.

"V T

sooner had the Brahmans

them
ficence as

Kylas

it

good an opportunity of displaying

next in situation

may

and which

it is

not,

are found at Tanjore or Tritchinopoly


for

turies, did

that

we know

we know

of

magni-

most remarkable,

this excavation.

who

is

a purely southern temple, such as


circumstance that aids in fixing a

that the southern Cholas, in the ninth

extend their dominions to

we owe

their architectural

however, in any style of architecture found in any

other instance north of the Kistnah, but

it,

afforded

proceeded to excavate the

certainly, the

is,

Rock

not be the most beautiful, of the rock-cut stractures of India.

Strange to say

date to

the discovery that the

did to their hated rivals, than they

it

the

though

as

made

this quarter,

It certainly

is

and

it

is

and tenth cen-

to them, probably,

not the work of any other race

occupied this country either before or since.

VIMANA, KYLAS.-ELLORA.

'T^HE

Vimana

itself,

shown

in the

above view,

is

the most remarkable feature

of the whole design, and also the most purely southern.


in

an octagonal dome, as

universally the case south of the Kistnah.

is

this each angle of each storey has a square dome, and,

The

oblong one.

It terminates

are

interstices

filled

in

Below

in the centre,

an

with sculpture, and sculptured

ornaments of various kinds, giving an extreme variety of light and shade to


the whole composition.

The temple
class as the

at

Kylas

Dhumnar
;

but

it

perhaps, more elegant in


sions,

The

it is

far

is

is

the only other

design, and, as

of the

style,

though from

its

comparatively small dimen-

effect.

Temples which surround the great Vimana are

may be

same

as purely northern in design, and on the whole,

from having the same

five smaller

Hindoo temple

supposed, add very

much

similar in

to the effect of the whole.

CLOISTER, KYLAS. ELLORA.

nr^HE

pit in

length,

which the Temple stands measures 150

and

illustrated in the

is

surromided on

annexed view.

all sides

by a

Like everything

ft.

in

cloister of

width by 270

in

which one bay

is

else in the Kylas,

it

has the

defect of being a literal copy from a structural fomi without any adaptation to
its

position.

when

The consequence

is

that the pillars look painfully light or slender

considered as supporting the 80 or 100

ft.

of plain rock which towers

over them.

The back

of the cloister

is

covered with sculptured groups, exhibiting

the wild exuberance and strange fancies of the


still

free

in its

all

Hindoo imagination, though

from the worst exaggerations of the modern

style.

It is

shade and looking upwards, towards the Vimana, that

when

standing

we become aware

of the grandeur of the composition, and feel that the whole fonns an architectural picture not often surpassed.

73

BAS-RELIEF, KYLAS. ELLORA.

""HE amount of sculpture, both

'

historical

and

architectural, that covers

every part of the Kylas adds immensely to the impressive but mysterious
effect

of the whole, and

There

are,

its

for instance,

Vimana, which are such

The one here


part,

and

variety

two

is

as

remarkable as

bas-reliefs,

as could only

its

quantity.

one on each side of the great

be executed by the patient Hindoo.

On

given represents Ravana's conquest of Ceylon.

at the right-hand side, the giant

Ravana

is

seen defending his castle,

and throughout the picture the Monkey God, Hunuman, with


monkeys, are seen lending their aid
lowest

tier,

to their

bringing the rocks with which

the lower

human

allies

Adam's bridge

is

his

in

said to

army of

the second

have been

constructed in order to enable the invading army to pass from the continent
to the island.

74

-^-<

BAS-RELIEF, KYLAS. ELLORA.

'
I

""HE pendant

to the bas-relief last described, as representing the

Rama, from

of

characterises

Hindoos, and

is

taken with the impartiality that

age from the Mahabarata, the other great epic of the

this
is

the Ramayana,

composed of episodes

in the lives of the

Pandavas

upper part apparently representing peaceful occupations, but ending


as a matter of course,

whom

is

and closing with a group of

being strangled or having his head cut

had

finished his story before he

one

and then

life

and occupations, the subject of which, however,

filled

the

a battle

off.

Having

line blank,

in

prisoners, the principal of

left

make

campaigns

filled his tablet,

the sculptor has

up the remainder with scenes of domestic

out.

75

it

is

not always easy to

-<-

/fk.

SCULPTURE, KYLAS. ELLORA.

'TT^HIS photograph

fairly represents the

Kylas are covered with ornament.


is

inferior

to

members have none of

The group on

The
figure

that elegance of detail

is cei^tainly

on the

and execution

rich

it

man

with the wings of a bird


this

one instance

group represents Vishnu and

left

which

is

found at Ajunta, but

and picturesque.

emblem borrowed probably from

though only known in

central

in its design

the right represents Vishnu on his Vahana, or celestial bearer,

the man-bird, an

Pantheon, where a
bination,

Both

which the walls of the

in

Northern sculptm'e of the same age, and the architectural

the effect of the whole

Garuda,

mode

in

a very

common com-

Indian mythology.

his consort, Sareswati, while the

seems merely to be an attendant.

76

is

the Assyrian

,-.x~

SCULPTURE, l^VLAS.-ELLORA.

T)ETRAYS

the same rudeness in

execution as the

last,

and the same

inelegance of detail, but possesses a wild picturesqueness and vigour

which charms

The

figure

in spite

of

on the right

Behind him a figure

in

its
is

defects.

a giant Dwarpal, or porter, guarding the entrance.

a chariot, apparently Arjuna, with his

behind him again one of those figures to


give the
It is

name
not,

wonderful so
all

whom

And

that occurs most readily to their memories.

much

as their quantity

Temple

itself,

with

and variety
its

for after

you have examined

porches, and those of the stone bridges

that connect one part with the other, there

pit,

bow

Brahmans on the spot

however, the art of these sculptures that makes the Kylas so

those of the

the beautiful

the

Temple of Lanka and others

is still

the cloister, and above

tiiis

cut in the rock on the sides of the

which make up together an exhibition of human labour and perseverance

seldom surpassed.
77

>1*-

INDRA SUBHA. ELLORA.

TT

would be uninteresting
group, as

among

to tlescribe the

there are no illustrations of them.

Doomar Lena

is

remaining Caves of the Mindno

the photographs that have been sent to this country

This

a finer and larger

is

to

be regretted, as

Cave than

among them

that of Elephanta,

the

which

it

resembles, and there are several others of great magnificence.

There

is

also, unfortunately,

the Indra Subha.


attained in

only one illustration of so-called Jaina group,

It illustrates,

however, the perfection

Cave architecture when once they became

to

which the Hindoos

so familiar with the

rock as to enable them to dispense with structural forms, and adapt these

masses to the apparent weight they had to sustain.

In this respect some of

their later caves almost surpass those of the Buddhists, for being liound
utilitarian exigencies, they

succeeded

in

by

ii<>

launched out into architectural magnificence, and

a manner rarely suriJassed.

DS420 .C3F3
The rock-cut temples of India

...

Princeton Theological Seminary-Speer Library

1012 00046 5775

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