LAB DAILY Filmed & Processed by the Library Photographic Servis University of California Berkeley 94720 i i L f ; i & 4 "year Reduction Ratio 4 ~ EEERE Saad ddaa S— — —— S— — ll 125 flat £ fl * I ARCHITE CTURE | I8RA RY University of Claris Berke birt Position : D | —— Filming Unit no. 493 Lens no. | UNKNOWN THE MASTER NEGATIVE,FROM WHICH THIS REPRODUCTION WAS MADE, IS STORED UNDER THE SUPERVISION OF THE LIBRARY PHOTOGRAPHIC SERVICE, ROOM 20, MAIN LIBRARY, UNIVERSITY OF CALIFORNIA, BERKELEY, CALIFORNIA 9 4 7 2 O FOR ADDITIONAL REPRODUCTION REQUEST MASTER NEGATIVE NUMBER — Be — #4] 0 |i 3 ¥ jis : ; a i ra E ) t f fd . ] ' ~ 3 THE ROCK-CUT 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 DOWLUTABAD. LONDON: : JOHN MURRAY, ALBEMARLE STREET. 1864. LONDON : PRINTED BY R. CLAY, SON, AND TAYLOR. RA hin phARAT WH Dorit Cc WR hobs TR oH TT ZOEY iS OE OTE Oo RO BPX EE EL LE EE Er LT Yr LE LLL LL LI I LILY YY XO AN NCE OE OO VOAD NCAA NR p OWN FOTO BIRO BRTORO THRO PREFACE. DuriNG a lengthened residence in India it was my good fortune to be able to visit in succession all the principal groups of Rock-cut Temples which were then known to exist in that country. In 1836 those of Cuttack were first examined. In 1838 an extended tour was made for the purpose of exploring those of Western India, and in 1841 the investigation was completed by a visit to those of Mahavellipore, in the Madras Presidency The intervals that elapsed between these several dates were useful for correcting the vagueness of first impressions, and in enabling me to fill up the gaps in my knowledge of Indian architecture, by examining cotemporary structural buildings, and studying other cognate sources of information. The results of these investigations were embodied in a paper which was read to the Royal Asiatic Society in 1843, and pub- lished in the Eighth Volume of its Journal. This paper was afterwards republished in 1845, accompanied by nineteen lithographic plates, in folio, illustrating the principal types of Rock-cut Architecture in India. Preface. In consequence of the interest which these publications 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 to take steps to prevent further dese- cration and destruction of these venerable monuments of the past, and above all to appoint some one to make drawings of the fast perishing Frescoes of Ajunta, before decay and the recklessness of Tourists had entirely obliterated them. One result of these representations was, that Captain,—now Major Gill, was appointed to copy the paintings in Ajunta ; a task for which he proved himself thoroughly competent, by the artistic skill displayed in the copies of these paintings which he has sent home, as well as by the truthfulness and fidelity which pervade all he has done. The pictures sent home by Major Gill during the first few years of his residence at Ajunta are now exhibited in the Indian Court of the Crystal Palace at Sydenham, and convey a perfect idea of the style of the paintings at Ajunta ; but unfortunately they have not been accompanied by any explanation, 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 this country, but instead, Major Gill sent home in the spring of this year to Mr. Layard nearly two hundred stereoscopic views of Indian subjects. Preface. About one-half these were scenes of the chase, of Indian life, and illustrations of the Mahometan buildings and of the scenery in the neighbourhood of Ajunta. Of the remaining half, many were 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 is not intended to be a complete and scientific elucidation of the subject. Those who desire fuller information are referred to the works mentioned above : but it is hoped that it is sufficient to render the subject of each Photograph intelligible. This seems to be all that is necessary, for the Photographs tell their own story far more clearly than any form of words that could be devised, and even without the text they form by far the most perfect and satis- factory illustration of the ancient architecture of India which has yet been presented to the Public. JAMES FERGUSSON. 20, LANGHAM PLACE, October, 1863. ASR MB A FRAN OBEN ) EI ) y (UES) SE 3 ) ST RAR NL FRITH DL RIL FAL DELHI TIX CY I Y= a) VS SV en CONTENTS. CAVES OF AJUNTA. BRIDGE AND TOWN OF AJUNTA HEAD OF RAVINE.—AJUNTA. . . GENERAL VIEW OF CAVES.—AJUNTA . CAVES NO. I, TO NO. I14.—AJUNTA THE FIRST SEVEN CAVES AT AJUNTA . SOUTHERN END OF THE SERIES OF CAVES,—AJUNTA THE OLDEST GROUP OF CAVES.—AJUNTA . THE OLDEST CHAITYA CAVE AT AJUNTA. . CHAITYA CAVE NO. 10.—AJUNTA . . THE OLDEST VIHARA.—AJUNTA. . . . THE OLDEST VIHARA,—AJUNTA. VIHARA NO. II, AT AJUNTA . VERANDAH OF CAVE NO. I1,—AJUNTA . EXTERIOR OF VIHARA NO. I4.—AJUNTA . INTERIOR OF VERANDAH NO. I4.—AJUNTA . VIHARA NO. 15.—AJUNTA. VIHARA NO. 16.—AJUNTA. VERANDAH OF CAVE NO. 16.—AJUNTA EXTERIOR OF VIHARA NO, I7.—AJUNTA . VERANDAH OF CAVE NO, 17.—AJUNTA vii Contents. AISLE IN HALL OF VIHARA NO. 17,—AJUNTA ., . PORCH OF CHAITYA NO. 19.—AJUNTA on alas Te GREAT WINDOW, CHAITYA NO. 19.—AJUNTA . . . LOWER PART OF FACADE OF CHAITYA NO. 19.—AJUNTA LOWER PART OF FACADE OF CHAITYA NO. 19.-—AJUNTA INTERIOR OF CHAITYA NO. 10.~—AJUNTA.: . . . . ROOF OF CHAITYA NO. 10.—AJUNTA . . . . TRIFORIUM OF CHAITYA NO. ¥9.—AJUNTA . . . , TRIFORIUM OF CHAITYA NO. 19.—AJUNTA . . TRIFORIUM OF CHAITYA NO. 19.—AJUNTA . . . . TRIFORIUM OF CHAITYA NO. 19.—AJUNTA CHOULTRIE ATTACHED TO CHAITYA NO. 1Q.—AJUNTA HINDOO SCULPTURE. CHAITYA NO. 19.—AJUNTA . CAVE NO, 20.~AJUNTA. '. . 0, ion he CAVE NO. 20.—AJUNTA ~. . 0, 0. poo oo FACADE, CAVE NO. 5.—AJUNTA . . . '. viv... CAVE NO. 6.—AJUNTA «, 0, i 0, doin ni FACADE, CAVE NO, 8.--AJUNTA . . . . . 2... FACADE OF CAVE NO. 4.—AJUNTA . . . . . . . INTERIOR OF VERANDAH, CAVE NO. 4.—AJUNTA SCULPTURE IN VERANDAH OF CAVE NO, 4.—AJUNTA EXTERIOR, CAVE NO. 2.—AJUNTA . . VERANDAH, CAVE NO. 2.—AJUNTA . . . . . . VERANDAH, CAVE NO. 2.—AJUNTA . . . . FACADE, CAVE NO. I.—AJUNTA . FACADE, CAVE NO, 1,—AJUNTA. . . FACADE, CAVE NO. 1.—AJUNTA. . . . i, . .. FACADE, CAVE NO, :.—AJUNTA . . . . . . +. . INTERIOR OF VERANDAH, CAVE NO. I.—AJUNTA DOORWAY, CAVE NO, L.—AJUNTA . . . , . VERANDAH, CAVE NO, 21.—AJUNTA . . . DOORWAY, CAVE NO, 21.—AJUNTA . CAVE NO, 22.--AJUNTA , . , pov angie FACADE, CAVE NO. 23.—AJUNTA . .i. .i. VERANDAH, CAVE NO, 23.—AJUNTA . . . +. + . viii v EE Ep n Ww *n + n nn Contents. FACADE, NO. 24.—AJUNTA . . . . LOWER PART OF FACADE OF CHAITYA NO. 26.—AJUNTA UPPER PART OF FACADE OF CHAITYA NO. 26.—AJUNTA CAVES OF ELLORA. EXTERIOR VISWAKARMA.—ELLORA . EXTERIOR VISWAKARMA.—ELLORA. VIHARA—ELLORA , . . TEEN TAL.,—ELLORA . . . + [uv wis DUS AVATARA.—ELLORA DUS AVATARA.—ELLORA RAVANA KA KAIE,—ELLORA. . . . . PLAN OF KYLAS ELLORA- vi hed ky KYLAS.—ELLORA Fa VN VIMANA, KYLAS.—ELLORA CLOISTER, KYLAS.—ELLORA . BAS-RELIEF, KYLAS.—ELLORA BAS-RELIEF, KYLAS.—ELLORA SCULPTURE, KYLAS.—ELLORA SCULPTURE, KYLAS.—ELLORA INDRA SUBHA.—ELLORA i ” <4 h R A Ree sce INTRODUCTION. huge are few among the monuments of antiquity regarding ail i whose history or uses so much uncertainty prevailed, till a very Hil i recent period, as those known as the rock-cut temples of India. When Europeans first became acquainted with them, they were | so struck by their monolithic grandeur, and the apparent eternity | of duration that resulted from it, that they 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, i 1 i even those of Egypt. There was also a mystery hanging | over their deserted condition, added to the fact that almost 1 : : all of them were situated in remote and lonely valleys, or cut i ; into the bare mountain-side ; which, with other circumstances, ] conspired to render them the most attractive, as they cer- ! tainly were the grandest, relics of the arts of the ancient Hindoo races. Ll i 1 In consequence of all this, the wildest theories were adopted ; ’ with regard to their antiquity and the purposes for which they 3 were originally intended. These might have continued in vogue If f till the present day had not James Prinsep, between the years 1h | i 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 | 3 India, from beyond the Indus at Kapur di Giri to the shores of | the Bay of Bengal at Cuttack. i xi Mi i } mE SS si a Introduction. This discovery led to a thorough investigation of the Buddhist iterature of Ceylon by the Hon. Mr. Turnour, and the con- sequent fixation of the date of the birth of Sakya Muni, the founder of that faith, in or about the year 62 3 B.C., and of his death eighty years later, in 543. It was also then ascertained that Bud- dhism did not become a prevalent, still less a state religion, till 300 years afterwards, in the reign of Asoka. As all the earlier excavations belong to this faith, an initial date was thus obtained, beyond which it was impossible to carry back the antiquity of any of the rock-cut temples then known or since brought to light. Subsequent researches have more and more confirmed 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 Dasaratha, the grandson of Asoka, excavated the “ Milkmaid’s Cave ” in Behar, about 200 years B.C., and the com- pletion of the Indra Subha by Indradyumna at Ellora, in the twelfth century after our era. As might naturally be expected from their locality, the oldest group of these caves is that at Raja Griha in Behar, being close to the original seat of Buddhism, and where it first rose into importance. They extend from 200 B.C. to the destruction of the Andhra dynasty in the fifth century of our era. Next to these is the Cuttack series, beginning about the same time, but ending earlier in so far as Buddhism is concerned, but continued through a Jaina series of much more modern date. These are the only two groups known to exist in Bengal. On the western side of India, the Cave at Karli is apparently not only the oldest, but the finest known to exist. 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 com- plete and interesting series known is that of Ajunta, which are fully illustrated in this volume. They extend from the first century B.C. to the tenth or eleventh A.p. and present every variety of style of Buddhist art prevalent in India during that important period. Next in importance to these is the well known group at Ellora, X11 Introduction. consisting of three series :—First, a Buddhist group, which may probably be as old as the seventh, but more probably belongs to the eighth or ninth, century. ~ After these comes a Hindoo series, lasting through the next 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 one series is not as interesting as the uniformity of the other. Besides this, there is a very important and interesting series of caves at Kennari in the island of Salsette, in Bombay Harbour— wholly Buddhist, and of various ages—and the well-known Hindoo cave of Elephanta, of the eighth or ninth century. : In the Ghats above Bombay there is another important series, at Juneer ; a Buddhist group at Baug, in Malwa ; and one partly Buddhist and partly Brahmanical at Dhumnar, and several others less 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 thirteenth century of our era. 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 Bengal or Bombay Presidencies. Altogether, it has been calculated there may be in India 1,000 excavations of this class—nine-tenths of which are Buddhist, and the remaining 100 divided between the Brahmanical and Jaina religions. They thus form not only the most numerous, but the most interesting series of architectural remains existing in India before the Mahomedan Conquest. In fact, they are the only ones that serve to illustrate the Arts or History of the period to which they belong. The structural 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 in which they were originally erected ; whereas one of the great merits of cave architecture is that it remains unchanged and unchangeable during the whole period of its existence. In order to understand what has just been said and a grea deal of what is to follow, it is necessary to bear in mind that three X1i1 oY } eee i . Bc ————— Introduction. great phases of religious faith have succeeded one another in India in historical times. The first was that of the immigrating Aryans—an elemental fire-worship, as far removed from supersti- tion or idolatry as any human faith well can be. We know it only from the Vedas, and from its analogy with the fire-worship of the ancient Persians; for no stranger visited India during its prevalence who has left us an account of what he saw, and no monument or. material records remain by which it could be judged. We have every reason, however, to suppose that it continued pure and undefiled till the period when 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 aristocratic Aryans. When Buddhism broke down in India, of which we have symptoms as early as the sixth century A.D. it was succeeded in some parts of Western 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 whom the effete remnant of the old Brahmanical Aryans allied themselves, in order to overthrow the Buddhists. In this they succeeded ; but this most unholy alliance 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. i So far as we know, the Aryans built no permanent buildings in India. Their pure religion required no stately ceremonies, and consequently no temples. The climate is so temperate, that palatial structures were only necessary for the display of passing pageantry ; and it also happens that where races of men are not in the habit of building temples or tombs, their residences are more remarkable for temporary convenience than they are for permanent magnificence. Architectural magnificence was, on the contrary, a necessity Xv Introduction. 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 are mere petrifactions of wooden buildings. The mortices, the tenons, and every form of wooden construction, is repeated in the rock in the earliest caves ; and frequently even the woodwork still remains as if placed there to support the mountain, instead of being merely intended to recall the structure of the metal covered or boarded roof from which it was copied. J The same thing occurred in Lycia, where all the earliest tombs are in like manner repetitions in stone of wooden structures, and in both instances it appears that it was the Greeks who taught the natives how to use the more permanent materials. At all events, the earliest monuments we know in 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 is not one single form that suggests lithic architecture ; every form is essentially wooden, and frequently interchanging with wood itself. All the Buddhist caves we know of belong to one of two classes. They are either_Viharas or Monasteries, -or they are Chaitya caves or churches,—the former being, as might be expected, by far the most numerous. The oldest Viharas consist of one cell only ; little hermitages, in fact, for the residence of a otone gel ON Fig. 1. PLAN OF VIHARA AT UDYAGIRL SCALE 25 FEET TO I INCH. single ascetic. In the next class they were extended to a long “verandah, with one long cell behind it, as in the example, Fig. 1. As these had, however, several doors opening outwards, they pro- bably were divided by partitions into cells internally. Xv wie Pay EA | i Hit i Ye Hil \ i HH : fF x HH] } i : 1] Introduction. i Introduction. | tH | In the third, and by far the most numerous class, Fig. 2, the cell 3 3 was obtained to the choir through one or three doors with which fi HL expands into a hall, generally with pillars in the centre; and it was pierced. Internally, over the entrance, is the part corre- i | 1) } around this the cells of the monks are arranged, the abbot i sponding with the rood-loft, and over this 1s the great window or HHA i | | | or prior generally occupying cells at either end of the verandah. | chancel arch, through which light is admitted to the building. it adi En ; 1H MH ; Fig. 3. a b i i HEH Fig. 2. : Hh | } { : | | i i ! i H {i { HL | HL Fed | {HD Hil | HH I HH i HH | | Hd | i [1]! i | |] i HH i | | |] | i | | His He 1 | H Dp ag AY tee) 1 | | i | | PLAN OF THE CHAITYA CAVE AT KARLL i f Hitt RE SERENE . . . . | Ha | The end, opposite the entrance, always terminates in an apse, iit i I} | | | | | the centre of which is occupied by the dagopa, or stone altar, a lL Ll simulated tomb, containing, or supposed to contain, a relic of 1 | | PLAN OF VIHARA NO. 2. AT AJUNTA. SCALE 50 FEET TO I INCH Buddha, or of some of his saints. ih 1! } qi | Hii] SA Fig. 4. iL | Hl | | | In ancient times, no sculpture or images were introduced into | Hii | the Viharas ; but as early, certainly, as the first or second century HC iH of our era we find a chapel always facing the principal entrance, 1 | | il | | | | and in it an image of Buddha : afterwards side chapels were added, : i 1 | Hh | with images of saints; and in those groups of caves which had no ill | | Chaitya cave attached to them we find a dagopa, or stone altar, ] i UHHH Hl [CRI HL occupying the chapel in the centre. | mf TTI EE er RTT i | | Chaitya caves, on'the contrary, are always exclusively devoted il | W I | to ceremonial worship, and in every feature correspond with the hil : choir of a Romanesque or Basilican church, the climate ap- | x on Tan | i i I parently enabling them to dispense with the nave, or place of SH Fa | | | | | assembly for the laity. As mentioned above, the typical example The whole is always surrounded by an aisle or procession path, fl IH of this class is the great cave of Karli, of which is represented in separated from the choir by a range of pillars; over that is il i lik | : ep Ly . . AEE i plan on woodcut Fig. 3. generally a triforium belt, not pierced, but ornamented either by il i I H | Externally there was always a porch or music gallery, more or painting or sculpture. From this belt springs the semicircular Hl IH {| | less developed ; within this, a feature corresponding with our roof. In the oldest Chaityas, this was always ornamented with iL : | rood-screen. This is always covered with sculpture, and access wooden ribs attached to the rock; -and at Karli, woodcut Fig. 4, LAI xvi xvii bi | fh 1 | i mE : ea i Eom Ta 2 . "= Ba — Introduction. these still remain. At Kennari, the wooden tenons still stick in . the rock ; but in most cases they are replaced by stone ribs cut out of the rock. As the Brahmans excavated caves only in order to signalize their triumph over their enemies the Buddhists, and had no real purpose to guide them, their excavations are more varied in character, and not so easily classified. Generally speaking, however, they too may be divided into two classes—Pseudo Viharas and Temples. The first of these resemble true monasteries at first sight, being caves with flat roofs supported by pillars, sometimes nearly similar to Buddhist excavations in arrangement. They are distinguished, however, from these, by having no cells or any arrangements for residence, the wall spaces between the pillars being invariably occupied by sculpture or niches for its reception ; and instead of the chapel, or dagopa, there is generally either a small temple or a figure of Siva or Vishnu. Even without sculpture, however, there are peculiarities of plan in Brahmanical excavations which at once betray their origin to any one familiar with the archi- tectural arrangement of Buddhist Viharas. The Brahmanical temples are still more unlike the Buddhist examples, as these are invariably exteriors, and have consequently no meaning when cut in the rock. In almost every case they have also the disadvantage of standing in a pit, the rock being dug out all round, leaving them in the midst of the excavation. The one exception to this rule is the example of the Raths at Mahavellipore. There the Brahmans found a group of granite boulders lying on the seashore, and have carved them into the 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 effect of eternity in the simple wall of rock enclosing the richly- carved temple, which goes far to redeem these faults, and renders xviii Introduction. them, on the whole, much more impressive than structural temples of even greatly increased dimensions. The Jaina temples are so few as hardly to require classification, and have no architectural peculiarities by which they can be distinguished. Their arrangements partake principally of that of the Brahmanical caves ; indeed, it is only by their sculpture that they can be distinguished from them. They are interesting, how- ever, from the circumstance of their belonging to the most florid period of Hindoo art; and they were also fortunate in being excavated at a time 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. It is in vain 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 sand- stone of Khandagiri. It may have been a familiarity with those of Egypt, as we know from his inscriptions, that Asoka had fermed alliances with Ptolemy of Egypt, and Megas, probably of Cyrene ; and to a people wholly without permanent monuments as the Hindoos then were, the temptation to imitate the rock-cut monu- ments of these countries was great. What, however, really led to their ultimate extension was the singularly favourable nature of the rocks in Western India for the purpose. From the valley of the Nerbudda to that of the Kistnah, the whole country consists of horizontally stratified trap rocks per- fectly homogeneous in character. Occasionally, however, strata intervene of harder texture than the rest, giving that curious steplike character which distinguishes the hill forts of India. Whether harder or softer, it is free from faults and cracks, and so uniform in character, that the architect feels the most perfect 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 opened for itself a deep and wide valley through it, pursuing a western course. On either side of this great valley numerous ravines or cracks extend for some miles into the plateau. _ 5 - Introduction. It is in one of these ravines, on the southern side of the valley 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, it is necessary, before proceeding further, to explain how the numbers by which they are known came to be attached to them. When I visited the caves in 1839, some of them had names, but such as neither indicated their age nor the purposes for which they were excavated, and these were applied so loosely that the guides frequently gave the same name first to one cave and then to another. To avoid all difficulty, I numbered them like houses in a street, beginning with the most northern, or the cave furthest down 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 oth, roth, 11th, 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. 1 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. 1 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, or Church caves ; the remaining twenty-three are Viharas. There are no Brahmanical caves at Ajunta, but some sculpture that approaches very nearly to. that religion in character, and may have been excavated either after the caves were abandoned by their original occupants, Or during some period of temporary supremacy. XX i A RR 3 ro ————— 5 i a3 CAVES OF AJUNTA. wet a ra BRIDGE AND TOWN OF AJUNTA. T the head of the ravine in which the Caves are situated stands Ajunta, a picturesque but thinly inhabited town, at one time well known in our annals in consequence of its being situated near the field of battle of Assaye. The Bara Durree or Palace was then used as a field hospital, and the graves of the officers who fell are still to be seen on the plateau opposite it, on the right of the picture. At this point the stream is crossed by a bridge of ten arches, which serves also to dam back the waters of the river so as to form a reservoir above the bridge. A little farther down a second obstruction forms an artificial lake in front of the Bara Durree, as shown in the photograph, and adds at the same time to the 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. I HEAD OF RAVINE.—AJUNTA. The Caves are situated about 200 feet lower E town of Ajunta is situated on the level of the plains of the Deccan, on the top of the Ghat. T™ down, at the bottom of a second stratum of the trap rocks. Half way between them a platform of harder rock divides the height into two nearly equal strata of roo feet each. After leaping over the two artificial obstructions shewn in the last view, the river descends by numerous small falls through the first stratum in a course of It then reaches the edge of the lower platform, over about two miles long. which it falls by seven short leaps, in a narrow space just to the right of the rocks shown in the view, which close the upper end of the lower ravine. Rc GENERAL VIEW OF CAVES.—A]JUNTA. [rleoarnLy below the rocks shown on the last photograph, the river makes a sudden bend to the left, on the outer sweep of which the Caves are situated. This view is interesting as showing the two great platforms of trap-rock of which this country is composed. The upper, perfectly flat, forms the plain of the Deccan. The lower, equally horizontal, is the one in which the caves are situated. The river Tapty flows over a third, which it also cuts through lower down. And above all these three is an upper stratum, but only existing in detached horizontal fragments, which give so peculiar a form to the celebrated hill forts of this part of India. > a stem a} 3 3 als oY yy v 2.0 2,03 30 ae? * » LI 9 . . . ’ 8s ’ ’ Pal 0 te . * 0 . 8 Tr) 3 190 1.0% ee ar » 2,9 » 230 1 0440 3% 0 0," ’. 0 ’ ’. ’ . » > 333 3 » 2 V3" oe eel Lg Bf - we * ey hid p ie vi a. . r 2 —l = > * - Ak aia > - A. ». 3 . a BA 2 hu pn, 8 Cah Sr W Ea ow ha Ta = - ——~ —— = - ce 7 - - + = EA —, EE ——— aS ——————————————— ta Caves. jun AJUNTA. The two oldest Viharas, Nos. 11 14. No. No. CAVES The two Chaitya Caves, with their great semicircular windows, seen in g like magnificent dimensions. 1 TO IS view represents the principal and oldest group of the A ’ and 12, are those on the left of these two, and the view extends on the The demarcation of the two strata of trap is very clearly shown in this direction in this country, forming an immense forest, but without a single tree view, as also the nature of the scrub jungle, which covers the hills in every right nearly to No. 1, which terminates the series in this direction. the centre of the view, are Nos. 9 and 10. of anythin TH Next to it is X No. 4 is seen on the same level as its Les id xx 3 by PY - . A 4 ar [P<] Fr * — THE FIRST SEVEN CAVES AT AJUNTA. Chaitya caves seen in the last view to the commencement of the series. The first Cave on the left of the picture is that known as No. 7. lower storey, and on the level of its upper storey are seen the three magni- the two-storied cave numbered as 6. ficent Viharas known as Nos. 1, 2, and 3. END OF THE SERIES OF CAVES.—AJUNTA. HIS view is taken from the verandah of Cave No. 16, looking south- ward, and represents the opposite end of the series from that of the last The Chaitya Cave seen in the extreme left is No. 26. Those next it on its right are the unfinished Viharas Nos. 23 and 24 ; and in the As will be observed, the Caves here are very much higher above the bottom of the ravine than those towards the other end, especially those in the centre. This arose apparently from their architects following the vein of rock, the y ” U @n Qo on = ~~ au = Q . = ot ce « Pn S £ ) > 2 1 2 wn ot < -— = Z » -~ =] Nn = Q = g — - 3 o 3 g 12] Q .— g > . 7 - ~ 2 S = o < T g 8 = Q — - — S o Oo g Qo g & = = & : 3 g 5 = o b] 4 oN 1] 1 i i i 1] = te il i A A AIH 5= som wna rr — a -_ = y this ’ To the right and left As is seen from the picture, the Apparently, there never was any other ascent to any , Nos. 9 and 10, and interesting as explaining wh v THE OLDEST GROUP OF CAVES.—AJUNTA. It is only by getting on the terrace at this point that the outer LARGER view of the oldest or central group, comprising the two Chaitya Caves rock here is smoother and more perpendicular than anywhere else, and carries its smoothness down almost to the bottom of the ravine. the platform of rock rises considerably, and the Caves are situated on a ledge, which was probably broader in former times, but is now hardly passable in spot was chosen for the earliest excavation. excavations are reached. of the Caves but at this spot. places. A ERE g " 1 ed eds hs Shi THE OLDEST CHAITYA CAVE AT AJUNTA. “HE facade of (No. 9), the smaller of the two old Chaitya Caves, shows tolerably clearly the imitation of wooden forms in this style of archi- tecture, as it came into use before the Christian Era. Within the great arch, on either side, are two upright posts, on which the two principal rafters rest. The broken end of one of these is seen on the right. Below, five smaller are placed horizontally, and between the two prin- cipals, seven are arranged perpendicularly. The great flat ogee was probably originally painted, and represents a sort of barge board terminating the gable. It probably assumed this form because it was necessary to have a ridge to the roof to throw off the rain. On the face of the rib lining the interior of the arch may be seen the incised partially closing the great arch. Its form may be seen copied in the niches below. footings into which a wooden framework was inserted, To the left is some sculpture of much more modern date, but from the he ad ! of the principal figure having been destroyed, it is difficult to m ake out whom it represents, The dimensions of this Cave internally are 45 ft. by 23 ft. 8 « Ye PAY CHAITYA CAVE No. 10.—AJUNTA, mtr view of the Chaitya Cave No. 10, rather more than twice the dimensions of the last, being 94 ft. 6 in. in depth, by 41 ft. 3 in. in width. There are twenty-nine pillars surrounding the nave, all plain octagons without bases or capitals, but covered with chunam and painted. Above these is the triforium belt, which was also painted, but very few traces of this remain. On the roof is still seen the markings of the timber framing that once adorned it. Being actually of wood they have perished, but having been copied in stone in the side aisles, they still remain there. The dagopa also shows marks of the wooden and plaster decorations that once ornamented it. The tee, or square relic casket, on its summit, being cut in the rock, still retains its original form, but the umbrella which once crowned it, being of wood, has perished, and nothing remains to tell of its existence here but the mortice into which it was originally stepped. s 9 ° "9 2 2» » ? * 32 s a 2% 00 > » sie. 9. 9. 3% 9 3 Anil 20 EX » * 9» 0 3% 2 sts Te v —— ey v ‘tad ) . . *3 ’ 23 i 3s eo %" ¢ eo ao» ee. 8 33 » 32 2. Jas, 2% 0 0, 73 3933 3 pd te 9" gee THE OLDEST VIHARA.—AJUNTA, HIS and the following view, represent the interior of No. 12, the oldest Vihara or Monastery at Ajunta, and from the analogy with other similar excavations bearing inscriptions, was excavated almost certainly anterior to the Christian Era, though how long before it cannot now be determined. It consists of a square hall, 36 ft. 7 in. each way without any pillars or internal supports. It has three cells on the right-hand side as you enter, and four cells on each of the other two faces. Towards the face of the rock it has one doorway, with a window on each side. It is peculiar at Ajunta, from having no central cell opposite the entrance, and no image or object of worship of any sort. In this respect it resembles the old Cuttack and Behar Caves, none of which have any images in their interiors, though the practice was apparently universal in the West soon after the age at which these earliest caves were excavated. 10 THE OLDEST VIHARA.—AJUNTA. HE only ornaments in this Cave are seven horse-shoe arches on the left-hand side and front, four over the doorways of the cells, and three over false doorways or niches between. On the right-hand side, however, where the residence of the abbot seems to have been, there are only three cells, it is much more richly ornamented, though in the same style. Just as the Romans used little frontons of temples, to adorn windows and niches, so the Buddhists employed little facades of Chaityas as ornaments, either over their doors or niches. The string course also, though this is not at first sight so obvious, is in reality of purely wooden construction. It is nothing more than wooden posts and rails repeated in stone, as may be seen at a glance at Sanchi, and other places where it is used on a larger scale. On this side of the hall, at the top is also seen the same form of battlement which is so frequently represented in the sculptures of Nineveh, but of which no ancient example exists (so far as is now known) in Hindostan. ———————————————— EE ay i eta eR PLAN OF VIHARA NO. 11. SCALE 50 FEET TO I INCH. Notwithstanding this it has four pillars sup- interior arrangement, but rather smaller, its length being 37 feet, its EXT in age to the last described is No. 11, very similar to the last in The external fagade is plain, but in N width only 28 feet 6 inches. porting the roof, very clumsily introduced, and probably the first example of supports being so used, though afterwards their introduction became good taste, consisting of four plain octagonal piers with bracket capitals, standing in a plain panelled stylobate approached by a flight of steps; the whole design being very appropriate to the rule, not the exception. its position. VERANDAH OF CAVE No. 1I.—AJUNTA., NTERNALLY the roof of the verandah has been painted, though probably at an age subsequent to the excavation, and is now very much obliterated. Its paintings, however, possess no historical interest, as they consist only of architectural patterns and borders, exhibiting what might be called a mixture of Classic and Assyrian designs. The doorway leading to the interior is simple, and the steps are adorned with two lions’ heads of good design, and well executed. On either side is a large square window, separated into three lights by two pillars standing on the cills. These are square for the greater part of their height, but change into octagons and then into figures of sixteen sides, returning to the square form just below the capitals. This being to a greater or less extent the mode of decoration adopted for all pillars, not only at Ajunta, but in every part of India, so long as anything like a pure Hindoo style prevailed. 13 EXTERIOR OF VIHARA No. 14.—AJUNTA. UMBER 13 is a small cave situate high up the rock with only two cells, and nothing worthy of remark either in its arrangements or its archi- tecture. Under it a large Vihara, No. 14, has been commenced, as if to form a lower storey, but at what age is not very clear, as for some reason it has been left unfinished, and it possesses no sculptures and no paintings from which an opinion as to its age can be deduced. The details of its pillars are peculiar, so much so, indeed, that there is no similar example known to exist elsewhere from which even an approximate date can be ascertained. Their style, however, is so pure and good, and there is no reason to doubt that they are of the age their position in the series would indicate, and rank among the oldest examples of Cave architecture. INTERIOR OF VERANDAH No. 14.—AJUNTA. HE form of the pillars of the verandah are square, divided by three flat bands forming compartments which are fluted exactly as is seen at the old Louvre or Tuileries, and other examples of Renaissance, but above this they slope inwards in a manner peculiar to Indian architecture. This form was adopted by the Hindoos in order that the abacus of the capital should not extend beyond the diameter of the shaft. In other words it was a device by which they obtained a pillar with a well marked 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 inner wall is arranged in a similar manner to that of all the Viharas here, but is more than usually plain, though this may arise from its being unfinished, or from its having been covered with chunam, and painted, but these adornments have perished, as is the case in almost all the verandahs at Ajunta. RE RE To the same cause it” may perhaps MBER 15 is a small plain Cave, the interior of which was till very recently filled up with mud, which had washed in from a torrent culpture of its doorway, which appears to have been executed with con- be ascribed that the pillars of the verandah have fallen down and been mentioned, its external appearance presents nothing remarkable, except the obliterated: This Cave has now apparently been cleaned out, but no de- scription of it has reached this country; and owing to the causes above- above, so as to render it inaccessible. siderable care, and in a good style of art. NV S VIHARA No. 16.—AJUNTA. N UMBERS 16 and 17 are the two most interesting Caves at Ajunta,— in so far as painting is concerned, the most so in India. No. 16, represented in the above view, is a square cave, 67 ft. 6 in. wide, and 65 ft. 2 in. deep, exclusive of the sanctuary. The centre hall is surrounded by twenty pillars, generally of an octagonal form, the sides of which are adorned in painting with something like a Roman scroll, alternating with wreaths of flowers. All the details of the architecture of this Cave are particularly good and elegant, more so than any other in this series. There are no side chapels, but eighteen cells surrounding the great hall. The figure in the sanctuary is seated with his feet down. Some of the paintings are tolerably entire and extremely interesting, though not so much so as those in the next cave. Most of these have been copied by Major Gill in facsimile, and these copies are now exhibited in the Indian Court of the Crystal Palace at Sydenham. 17 ' > - ) vR pb ; oD angles to the main facade. This is not a Vihara, or residence, but a Choultrie, or place of refuge or repose for pilgrims or attendants. The front consists of two pillars of very graceful design, and the whole J = D' composition is pleasing and appropriate to its purposes. It may be of the same age as the Chaitya to which it belongs, and form a part of its original arrangements, but there is a certain character about the sculpture of its capitals which would lead us to suspect that it was added afterwards at some more modern date. If this is not so, it may be considered as one of the very earliest examples of a mode of changing a circular form into a square one, by a leaf falling over at the angles. It is somewhat clumsily used here, but afterwards became universal in Indian architecture. HINDOO SCULPTURE. CHAITYA No. 19.—AJUNTA. S— PPOSITE to the Choultrie last described is an alto-relievo of a consider- ably more modern date than the Chaitya to which it is attached, and probably the only thing that can be ascribed to the Brahmans at Ajunta. It represents Vishnu sitting under the canopy of the seven-headed snake— a very common Brahmanical arrangement—with Sareswati by his side. On the other side stands an attendant with a chowrie in his hand. Though more modern than the Chaitya, it is not necessary to assume that this group was carved after the Caves were deserted. There were intervals long before the final expulsion of the Buddhists, when the Brahmans had the upper hand, and this piece of sculpture is so free from the usual extravagance of Hindoo sculpture, that it must be old—older probably than the Caves at either end of the series. In style, it resembles very much the sculptures at Elephanta, and some of those at Ellora, 33 Its E last of this group is a small Vihara of somewhat singular plan dimensions are twenty-eight feet two inches wide, by twenty-five feet It possesses four cells for monks, two on each side. There is also a verandah in front, supported by two pillars with bracket The sculpture of these is bold and free, resembling that of the There is no internal colonnade, but the roof is supported by advancing the capitals in the interior of Cave No. 19, though somewhat better executed. sanctuary about seven feet into the hall and making its front consist of two Unfortunately, like everything in this Cave, the facade is a good deal ruined from flaws and faults in the rock. six inches deep. columns in antis. capitals. 1 Beretta ee etree ———— mp tn eer ee ee ee ee — eee eee ese Sa ee ss E ——_————— CAVE No. 20.—AJUNTA, HE paintings that once adorned this Cave are now almost entirely obli- terated, except those on the roof. Those which exist consist of frets and flowers, but do not possess any particular interest beyond showing the connexion of this Cave with the Viharas 16 and 17, whose paintings are identical in style. This Cave has been used as a workshop and occasional residence by Major Gill during the twenty years he has remained at Ajunta, and were it not for the difficulty of procuring sufficient light in the interior, there can be no doubt but that their dryness and equable temperature would render these caves very pleasant places to live in. With this Cave the great central group terminates in this direction ; and it will now be necessary to describe the third group, consisting of the first seven Caves in the north, and then to take up the fourth, though probably cotem- porary group, consisting of the last six at the southern end. 35 The front line of the There is also a chapel with two pillars at FACADE CAVE No. 7.—AJUNTA. MBER 7 is peculiar among the Caves of Ajunta, though not unlike some at Cuttack. Though it cannot pretend to rival in magnificence some of the other It consists merely of a large verandah 63 ft. 4 in. in length, by 13 ft. 7 in. pillars at Elephanta, and those in the Doomar Lena at Ellora, and therefore Viharas at Ajunta, as an architectural composition it is probably as pleasing as verandah is broken by the projection of two porches, of two pillars each. These are particularly interesting here, as they are extremely similar to the in breadth, with the cells opening at the back of it. probably not far distant in date. each end of the verandah. any others—externally at least. N* CAVE No. 6.—AJUNTA. N UMBER 6 is the only two-storied Cave at Ajunta, but has unfortunately been excavated in a spot where the rock is not so sound as in other places. 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 the same dimensions, 53 ft. square, the upper having twelve pillars. In the lower, four more are introduced in the centre. The pillars in front of the sanctuary are of the same Elephanta order as in the last described Cave, with cushion capitals, and fluted. It will be observed in the above view of the facade there was a figure standing in the nook shaft on each side of the doorway, but it has fallen away, its absence giving an awkward appearance to the design. 37 .—AJUNTA. x 0 No. FACADE CAVE MBER 3 is a small Cave with no remarkable peculiarity about it, and unfinished, so that it is impossible to be quite certain of its age, but NY as the series of Caves seem to have gradually extended from the central groups towards the extremities, it may probably rank next in time to the last On careful examination, however, it will be seen that its pillars, described. though of the same order as the next in succession, No. 4, are so inferior in design that it may probably be an insertion of a later date, and its unfinished state would also lead to the supposition that it may be among those last attempted at this place. This is the more to be regretted as, I have therefore no dimensions and no FACADE OF CAVE No. 4—AJUNTA. HE fourth Cave from the end is situated higher up in the cliff than the others at this end of the series, and as the path to it has broken away, aware of its existence till I perceived it from the opposite side of the valley it was so completely hid from below by the ledge in front of it, that I was not such intimate knowledge of it as would enable me to speak confidently either both from its dimensions as well as from the simple grandeur of its details, it looks as if it were one of the finest Viharas of the series. as to its age or any of its arrangements. when leaving —too late to return. T E verandah of this Cave is supported apparently by eight pillars in front ; simple octagons with bracket capitals, but without bases, or any inter- INTERIOR OF VERANDAH, CAVE No. 4.—AJUNTA. the shaft, but the whole is massive and plain, and consequently appropriate to Cave architecture ; more so indeed than many of the more elaborate designs which are found in this as well in all the other groups of Caves, more especially mediate member to break the abruptness of the change between the capital and among those so modern as this one evidently is. T H The style of the sculpture, too, has more of the SCULPTURE IN VERANDAH OF CAVE No. 4+—AJUNTA. HE wall at the back of the verandah is sculptured instead of being painted, which is unusual at Ajunta, and an evidence for the modern character we are accustomed to associate with Jaina than with Buddhist art. Its presence, however, gives a richness of effect to this verandah which is want- ing in the others, where the paintings have been washed off, from the exposed error date of the excavation. nature of the situation, EXTERIOR, CAVE No. 2.—AJUNTA. HE second Cave from the north end is a twelve-pillared Vihara, of which is given a plan at page xvi It is in very good preservation, and the paint- ings, particularly on the pillars, are tolerably perfect. In the sanctuary there is a statue, of course of Buddha, and there is a chapel on each side of it, at the end of the aisles. In the one on the north are two most portly, fat figures, a male and female ; in the south one, two male figures occupying a like position. Who they were meant to represent is by no means clear. Though the dimensions of its hall are only 48 ft. square, and its age very modern (ninth or tenth century probably), it is as complete an example of a perfect Vihara as any existing in Ajunta or elsewhere. VERANDAH, CAVE No. 2.—AJUNTA. HE verandah is supported by four pillars of very massive form and tolerably elegant design. The lower portion is of sixteen sides, above this they are adorned with thirty-two flutes; but their principal ornaments are arranged in the belts which surround them. These are covered with the most elegant ornaments, so delicate as to be almost better suited for metal than for stone work. At either end of it a smaller porch stands in front of the two principal cells, the difference in height being made up by bassi-relievi representing scenes from the life of Buddha. The doorway leading into the hall is also a rich and elegant specimen of its class. VERANDAH, CAVE No. 2.—AJUNTA, HE principal effect of this Cave is derived from its paintings, especially those on the ceiling. These are not of the same high class of his- T torical paintings which adorn the Viharas 16 and 17, being generally only decorative scrolls and patterns, but as architectural ornaments, they are more complete and elaborate than those found in the other Caves, and being generally appropriate to the situation in which they are placed, they give a Taken alto- greater effect of finish to this Cave than is usual at Ajunta. o gether, there is perhaps no Cave at this place from which the effect and arrangements of a complete Vihara can be better understood than they can from this example. 1.—AJUNTA. No. 4 ’ FACADE, CAVI HE first Cave that begins, or rather ends, the series in the northerly direction, possesses the most highly ornamented, perhaps it might be said, T The hall of its interior is the handsomest exterior of all the Viharas of Ajunta. 64 feet square, adorned with twenty pillars, each 3 ft. in diameter, all of them richly carved, and with bold bracket capitals. The interior has been a good deal filled with mud, but notwithstanding this, & entire, and some of them are interesting, but like the its paintings are tolerably sculpture and all 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 excavations. NTA. T ) 1.—A]JU FACAD E, CAVE No. E verandah of this Cave is ¢8 ft. in length internally, and terminates as usual in a cell at each end, but externally it has, besides, a chapel, T™ with two pillars in antis, which adds considerably to the architectural effect of the fagade, and in this respect is preferable to the arrangement in No. 2, where these two pillars are internal, and consequently are hardly seen in con- junction with the facade. As originally executed, there was an outer porch of two pillars standing in 8 7 ’ > I'hese latter, which form the real r erfect. ~ Ls advance of the six which are still j support of the verandah, are of three different orders—or rather four, counting The outer pillars are merely square piers, the half columns at either end. but they increase in richness of decoration from the flanks to the centre, where they are richly decorated circular shafts, with bold bracket capitals. 46 All these pillars, however, JUNTA. o 1.—A FACADE, CAVE No. perpendicular flutings in bands, sixteen-sided above and below, and low the square block of the capital. & HE two central pillars of the six which remain have circular shafts, with I'he two next on either hand have diagonal flutings, and less ornament at The two beyond these are comparatively plain octagons, with only slight r The whole effect is that of a well considered and carefully elaborated design, have bracket capitals of similar design, though the sculpture in each is varied. though, perhaps, hardly so appropriate to rock architecture as the design of thirty-two in the two middle compartments. ornamental markings, and the half columns are square, with only a circular No. 4, and some of the simpler Caves of the series. the top and bottom. necking be 1 FACADE, CAVE No. .—AJUNTA. T is not easy to make out the design of the two advanced columns in the centre. From what remains we can see that they had not bracket capitals, but were similar to those of the Cave last described (No. 2), but the double frieze of sculpture was carried round them as along the whole fagade, binding it together as a whole. Taking it altogether, this fagade is perhaps as pleasing a specimen of design as is to be found in this style of architecture, If the principles on which it is composed are condemned, the whole system falls; but it seems there is an amount of variety combined with sufficient uniformity for architectural pur- poses, and there is a richness of effect produced by the whole composition, for which it would not be easy to quote a rival in any other building of the same size or pretensions. 48 INTERIOR OF VERANDAH, CAVE No. r.—AJUNTA. NTERNALLY the verandah does not present so pleasing an aspect at the P I g I present day as the exterior, in consequence of its having depended for effect principally on paintings, and these have perished. Owing to the shadows, the internal photograph shows better than those of the exterior the system on which these pillars are designed. First, a square cubical base, the same height for all. On this an octagonal frustrum of a shaft also uniform in height. The transition being broken by a seated figure at each angle. In the centre pillars this changes into a sixteen-sided figure at top and bottom. In the next two only at the top, on the outside ones not at all ; but all have belts of thirty-two sides in the centres,—the same system being observable not only throughout their architecture, but in every phase of Hindoo thought or design. 1 1 or o [hey » ptured desi EE — J A richly scul As before mentioned, there are .—AJUNTA. Er pw a ea a] No. CAVE Besides this, it must be remembered that it is PETITE TN hat once was a richly decorated wall, and if so, it showed DOORWAY, ature in w HE doorway is hardly so rich as might be expected in so elaborately ornamented a Cave, but it is pleasing in design, and as it was covered with Two of the internal pillars can be seen dimly through the opening. T chunam, traces of which still remain, it is probable that its effect was at one in bold relief would have tended to render the flat paintings on either hand, correct architectural taste to keep it subdued. are similar in design to those of the exterior. twenty of these, each three feet in diameter. time heightened by colour. tame and insipid. only one fe VERANDAH, CAVE No. 21.--AJUNTA, BR: RNING to the southern end, the next Cave (No. 21) is a large Vihara 51 ft. 6 in. by 52 ft. 6 in. but not quite finished, the pillars 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 at each end of the two aisles, and all of these have two pillars in antis. Their frequency, and the mode in which they have superseded the residential cells, show only too clearly how the original idea of the Vihara was becoming lost at the time when this one was excavated. Two chapels at the ends of the verandah still also remain, one of which is represented in the above view, and though the pillars of the front of the verandah are gone, the end pier on both sides remains, marking its dimen- sions and showing the character of its details. Al A ee 21,—AJUNTA, No. CAVE DOORWAY, IE doorway that leads into the Cave No. 21 has the same elegance, but the same littleness as all the other parts of this Vihara, and with a T It is still how- looism indicative of its modern date. mc tendency towards H ever, so free from the extravagance that too generally prevailed in Indian architecture, after the tenth or eleventh century, that there can be no doubt about its being earlier than that epoch. Internally its paintings are now nearly obliterated, except on the wall on your left hand as you enter, where there still exists a large figure of Buddha, of a black complexion, or at least very dark, but with red hair, and attended There are several ladies introduced into the composition, but by black slaves. In most . anions they are here, as notwithstanding the blackness of their comy other Caves, represented with complexions almost as fair as Europeans. AJUNTA. No. 22.-— f - CAVE E Vihara No. 22 is a small Cave, only 17 ft. square, without pillars except two, which are merely rough hewn, in front of the sanctuary. TT The whole Cave, in fact, has the appearance of having been left unfinished internally, and whatever external decoration it may once have had, is now lost, owing to the fagade having fallen down from the decay of the rock in which it was sculptured. It is now used as a residence, if not by Major Gill himself, at least by his’ Their various ranks followers, whose portraits are seen in the photograph. and stations will be easily recognised by any one familiar with an Indian household, from the fierce jemadar, who is attitudinizing on the right, to the mehtur boy, who is sitting with his back against the door-jamb on the left. —AJUNTA. FACADE, CAVE No. 23. to Nos. 2 and 21; it has however been left in a very unfinished state, MBER 23 is another Vihara of twelve pillars, very similar in all respects N"' without even an image either in the sanctuary, or indeed anywhere else, and Its dimen- there exists no trace of painting that could be detected in any part. 51 ft. 8 in. 51 ft. by sions are The pillars of its external fagade are bold and suitable in design to rock-cut architecture ; but they are deficient in elegance of outline, and their details are small and shallow to an extent wholly unsuited to their position. It was probably intended to flute the centre pillars like those on the flanks ; but they, like everything else, are leit unfinished. VERANDAH, CAVE No. 23.—-AJUNT. HE 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 is a wall rock roughly blocked out with a pick. In another it is pierced with what look like a series of rude doorways. In some places the pillars are shaped, in others the carving is finished. On the whole, it appears that it is the last process that has taken the greatest amount of time and labour. The blocking out of a Cave in such a material as amygdaloidal trap is probably not a more expensive process than building such a structure on the plain might prove. If this be so, the dura- bility of a rock-cut structure is such that it might have been far more generally adopted were it not that the situation where they are necessarily placed is often inconvenient, and the power of lighting them frequently insufficient. tr ————————————————— FACADE, No. 24.—AJUNTA. N UMBER 24 was intended to have been a twenty-pillared Cave, and, if finished, would have measured about 74 ft. each way. But only one pillar in the interior is sculptured, and one range 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 if for that purpose. From such details as exist, we may infer that, if completed, this would have been one of the most carefully finished Caves of the series. In the pillars of the verandah we have another instance of the falling-leaf ornament which became so fashionable at Delhi and elsewhere, in the eleventh and twelfth centuries, and which occurs also in the Choultrie to Cave No. 19, which may probably be of the same age. Though so rare at Ajunta, the falling-leaf ornament is almost universal at Ellora, as will be seen in the illustrations that follow 36 LOWER PART OF FACADE AT CHAITYA No. 26.—AJUNTA. OUGH there are some insignificant Caves beyond, the great Chaitya No. 26 terminates the series as worthily at this end as the Vihara T No. 1, does at the other. In general plan it is very similar to No. 19, but its dimensions exceed the former very considerably, the whole width being 36 ft. 3 ins., that of the nave Its sculptures, too, are far more 17 ft. 7ins., and the total length is 66 ft. 1in. numerous and more elaborate ; indeed, more so than in any other Cave of the series ; but they are very inferior both in design and in execution, so much so, that if other proof were wanting, this alone would be sufficient to stamp this at once as one of the latest, if not actually the last executed Cave of Ajunta. HE external architecture has nearly lost 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 is cut through to make room for two seated Buddhas, larger than the rest. The whole of the roof of the external porch or music gallery in front has fallen in, but so far as can be made out, it extended the whole way across, which is unusual at Ajunta. Internally the walls of the aisles, instead of being painted, are covered with sculptures, among them a reclining figure of Buddha, 23 ft. long, in the atti- tude in which Nirvana or beatitude is attained. But this is accompanied by figures so comical and extravagant in design, as prove too clearly that the religion of Sakya Muni no longer existed in its original purity when the Cave was undertaken. 58 w ELLORA. CAVES OF Ee Ea RE — ———— rr NL Orr OOK: 5.0 - 7° ARE (5 rt Pe pt PDI EE RIE PLE DICH DELS A To AT Sr Tarr % er : 26% aps 3 2A PR Ts PTY Yr IIIT: De Fe ICAL] ( 0 INTRODUCTION. LTHOUGH the caves at Ellora do not possess that unity and completeness which characterises those of Ajunta, their variety, and the exceptional magnificence of some of them, renders them perhaps even more interesting : but it must be confessed they are in consequence far more difficult to under- stand. It is only, indeed, after having become familiar with all the other forms of Cave architecture, that their history becomes at all intelligible. It is not, therefore, to be wondered at that such strange theories were announced with regard to their age and uses when they were first made known to Europeans ; for, beside their complexity, it also happened that the Ellora Caves were the earliest series of which any trustworthy illustrations were published, and they consequently attracted attention at a time when very few materials existed for forming a judgment regarding their peculiarities, Very correct views of them were published by the Daniels, from drawings made by Wales, in the first years of this century; and the writings of Seely, of Colonel Sykes, and Sir Charles Mallet, have all contributed to make them known ; but unfortunately none of these gentlemen were familiar—at the time they wrote—with the other forms of Cave architecture, and they were consequently unable to classify them correctly as to either age or style. 61 Introduction. ‘I'he whole series consists of about thirty excavations. Of these ten were devoted to the religion 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 their being excavated in the sloping sides of a hill, and not in a nearly perpendicular cliff. From this formation of the ground almost all the caves at Ellora have courtyards in front of them. Frequently also, an outer wall of rock with an entrance through 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 the other hand, the advantage archi- tecturally of the fore-court, and the protection it affords not only from violence, but also from atmospheric influences, more than compensate for this defect. EXTERIOR VISWAKARMA.—ELLORA. F the Buddhist group, the principal Cave is the so-called Viswakarma, the only Chaitya Cave of the series. It is neither so large as those of Karli or Salsette, being only 43 ft. wide internally, and 83 ft. 1 in. in length ; nor is it so rich in its details as the two later Chaityas at Ajunta. Internally the design of the Temple is marked with considerable elegance and simplicity. The two pillars that support the gallery over the entrance are rich and handsome ; 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 is Buddha seated with his feet down, and surrounded by flying figures 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 secular than in any other Buddhist excavation. The alteration in style, in fact, is so obvious, as to prove that the religion of Buddha had lost all its primitive force and originality before this Cave was excavated, and was fast merging into these religions that superseded it. 63 Ee EE EXTERIOR VISWAKARMA.—ELLORA. HE most novel and interesting feature m the Viswakarma is its court. On three sides it is surrounded by a colonnade of good design, the pillars of which, instead of the bracket capital so universal elsewhere, have an exaggerated abacus peculiar to Ellora. Above this runs a 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 figure of very anti-Buddhistical design. The great peculiarity of this Cave, however, is, that instead of the great simple semicircular window over the entrance, the opening is here divided into three compartments, something like what we call a Venetian window, and represents a form of architecture more removed from the wooden original than any other example of a Chaitya Cave we are acquainted with. The canopies over the side windows also are so modern that it seems impossible to carry the date of their execution beyond the seventh or eighth century, while it may be even more modern. 64 EE s—— Unfortunately it is much too low But the details of their archi- VIHARA.—ELLORA. 6 E principal Vihara attached to this Chaitya is that called Dehr warra, one of the largest excavations of its class, being 110 ft. deep by The other Viharas are smaller—about the same average size as those of tecture are almost all identical, as in this illustration, with those of the Viswakarma, and they seem so much alike in style that all were probably executed within the limits of the same century as the Chaitya itself, —most to have a good effect architecturally, and its details are infinitely inferior to probably all within the limit of one thousand years from this date. 70 ft. in width, including the side recesses. Ajunta, and more similar to them in plan. those of Ajunta of the same age. 1: rr ——— - ] HY A 8 Lit Ei | i A LR | ! { 3 {| 3 1 i 0 h ! 2 | IM | { | | i § | LEY | Fa i h 1 | i i | THR] if ! ! HHH A | H } { | ' fi 1 I it i i Hh } i Hage | If Ri H 9 | 1 3 J i il | i { H il elf 3 il | Hl i | | | | { Hl | i ] i {i i X \ i | fi i | ol 1 | |! HE | i | { i i . Hi H {| Hu { i { i { tl HH i] {4 i 3 | h | | H Hi iH HH i | | HRI |} ! | | | | | § i | | f (| i ih | { | 1 | | a — CE —— TEEN TAL.—ELLORA. MMEDIATELY to the north of the Buddhist group just described are three Caves, which are singularly interesting as showing the steps by which a Buddhist Vihara was converted into a Brahmanical Chaori. The first, called Do Tal, or Dookya Ghur, is a Buddhist Vihara of two stories. Most of its details are so similar to those above described, that it may be assumed to be, without doubt, of the same age. It is strictly Buddhistic in all its details, and shows no more tendency towards Brahmanism than what was pointed out in speaking of the Viswakarma. It apparently was intended to have three stories, but has been left unfinished. The next, or Teen Tal, as it name indicates, is three stories in height, and very similar to the last in arrangement and detail. Its sculptures, too, are all Buddhist, though deviating so far from the usual simplicity of that style as almost to justify the Brahmans in appropriating them as they have done. The pillars of the lower storey, shown in the illustration, are of the usual Ellora type ; but though bold in outline, are frittered away in detail, as is only too usual at their age. 66 DUS AVATARA.—ELLORA. HE third of these caves is called the Dus Avatara, after the ten Avatars of Vishnu ; is a two-storied cave, very like the other two in archi- T tectural detail and arrangement, but essentially Hindoo in its sculptures. The upper storey is a splendid hall, measuring 1co feet each way ; the roof but in lieu of the cells supported by 44 pillars spaced equally over the floor, On the left of a Vihara, there is a group of sculpture between each pilaster. hand, all the groups are to the honour of Siva and Parvati; and in the in the centre of the inner wall, is his emblem, the Lingam. On sanctuary, a curious instance of these two religions the right hand everything is Vishnave, as there — which afterwards became so antagonistic—occupying one temple, can be no doubt but that these sculptures formed part of the original deco- The whole of them are in the very best style of Hindoo sculpture, rations. as a whole to anything else either here cr elsewhere. perhaps superior DUS AVATARA.—ELLORA. OTHER circumstance that points out the Hindoo origin of this Cave is the Mantapa, or porch, left standing in the centre of the court-yard. A" This is an invariable accompaniment of Brahmanical temples, and generally is occupied by a statue of the bull Nundi—in Sivite temples, at least—and such we probably must consider this to be. This Porch is further interesting as being the first known attempt to repro- duce the exterior of a temple in the rock—a thing never done by the Buddhists. It was the All their Caves are interiors as they ought to be. Brahmans, who really had no use for caves, who first set the example of this architectural absurdity. It was evidently intended that the mass between the lower and upper stories This not having been of this Cave should have been sculptured into a frieze. accomplished, the fagade has consequently a clumsy and heavy look, which would have been relieved by the sculpture. RAVANA KA KAIE.—ELLORA. ETWEEN the two Caves last mentioned is one called Ravana ka Kaie, or Ashes of Ravana. It is similar in design, though more florid than those on either hand, but hardly so much so as to justify its being placed in a different age from that which its locality would assign to it. Among the scenes portrayed in the sculptures of the Cave is one of Siva and Parvati playing at choupers, a game somewhat resembling draughts, an engraving of which was published in the second volume of the ¢ Transac- tions” of the Royal Asiatic Society, ~from a drawing by Captain Grindlay. Below there is a group of the Gana—dwarfs attached to Sivas retinue— playing with, or rather tormenting the bull Nundi. It is one of those legends which seem to have been peculiar favourites with the Hindoo sculptors, and is repeated several times in these Caves. The architecture of the Cave is very florid, but all the pillars have the cushion capital and fluted shafts so common at Ellora. 69 MLL IY pnpEpEoDapREoH@AEAED Ad SEED EEEEERES : IN TRIES NR XN PLAN OF THE KYLAS TEMPLE AT ELLORA. nnn 1 ground-plan of the Kylas here given will serve to render the parts illustrated by the following photographs more generally intelligible. A A is the Gopura, or entrance gateway. B, the detached Mantapa or porch, with an obelisk on each side. ¢, the inner porch or pronaos, solid below, but on the first-floor joined to the porch and gateway by stone bridges, all cut, of course, out of the solid rock. D, the cella with the Lingam, over which is the great Vimana. EE, &c. are smaller detached Temples surrounding the great Vimana. FF, lateral Temples, originally connected with the great one by bridges, which, however, have fallen. One of these, now approached only by a stair at G, is called Lanka. 70 KYLAS.—ELLORA. O sooner had the Brahmans made the discovery that the Rock afforded them as good an opportunity of displaying their architectural magni- N ficence as it did to their hated rivals, than they proceeded to excavate the Kylas—the next in situation—and which is, certainly, the most remarkable, though it may not be the most beautiful, of the rock-cut structures of India. Strange to say it is not, however, in any style of architecture found in any other instance north of the Kistnah, but is a purely southern temple, such as are found at Tanjore or Tritchinopoly—a circumstance that aids in fixing a date to it, for we know that the southern Cholas, in the ninth and tenth cen- turies, did extend their dominions to this quarter, and it is to them, probably, It certainly is not the work of any other race that we owe this excavation. we know of who occupied this country either before or since. 71 VIMANA, KYLAS.—ELLORA. 4 ‘HE Vimana itself, shown in the above view, is the most remarkable feature of the whole design, and also the most purely southern. It terminates in an octagonal dome, as is universally the case south of the Kistnah. Below this each angle of each storey has a square dome, and, in the centre, an oblong one. The interstices are filled in with sculpture, and sculptured ornaments of various kinds, giving an extreme variety of light and shade to the whole composition. The temple at Dhumnar is the only other Hindoo temple of the same class as the Kylas; but it is as purely northern in design, and on the whole, perhaps, more elegant in style, though from its comparatively small dimen- sions, it is far from having the same effect. The five smaller Temples which surround the great Vimana are similar in design, and, as may be supposed, add very much to the effect of the whole. 72 CLOISTER, KYLAS.—ELLORA. HE pit in which the Temple stands measures 150 ft. in width by 270 in length, and is surrounded on all sides by a cloister of which one bay is illustrated in the annexed view. Like everything else in the Kylas, it has the defect of being a literal copy from a structural form without any adaptation to its position. The consequence is that the pillars look painfully light or slender when considered as supporting the 8o or 100 ft. of plain rock which towers over them. The back of the cloister is covered with sculptured groups, exhibiting all the wild exuberance and strange fancies of the Hindoo imagination, though still free from the worst exaggerations of the modern style. It is when standing in its shade and looking upwards, towards the Vimana, that we become aware of the grandeur of the composition, and feel that the whole forms an archi- tectural picture not often surpassed. 73 i _ N Mi S—— -— > fa PEP lian p, PR by k Asa WILEY b ST - ARR VS SVS WN ro [OTY- ar YY Yd ” f \ AY. . F AAR pi hi Xl A kb Fe A Poy — r - » 1 het! ohare Rr 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 its variety is as remarkable as its quantity. There are, for instance, two bas-reliefs, one on each side of the great Vimana, which are such as could only be executed by the patient Hindoo. The one here given represents Ravana’s conquest of Ceylon. On the lower part, and at the right-hand side, the giant Ravana is seen defending his castle, and throughout the picture the Monkey God, Hunuman, with his army of monkeys, are seen lending their aid to their human allies: in the second lowest tier, bringing the rocks with which Adam’s bridge is said to have been constructed in order to enable the invading army to pass from the continent to the island. o - ——————— et ——— ——————— — . BAS-RELIEF, KYLAS.—ELLORA. Tee pendant to the bas-relief last described, as representing the campaigns of Rama, from the Ramayana, is taken with the impartiality that characterises this age from the Mahabarata, the other great epic of the Hindoos, and is composed of episodes in the lives of the Pandavas; the upper part apparently representing peaceful occupations, but ending in a battle as a matter of course, and closing with a group of prisoners, the principal of whom is being strangled or having his head cut off. Having finished his story before he had filled his tablet, the sculptor has left one line blank, and then filled up the remainder with scenes of domestic life and occupations, the subject of which, however, it is not always easy to make out. SCULPTURE, KYLAS.—ELLORA. HIS photograph fairly represents the mode in which the walls of the Kylas are covered with ornament. Both in its design and execution it is inferior to Northern sculpture of the same age, and the architectural members have none of that elegance of detail which is found at Ajunta, but the effect of the whole is certainly rich and picturesque. The group on the right represents Vishnu on his Vahana, or celestial bearer, Garuda,—the man-bird, an emblem borrowed probably from the Assyrian Pantheon, where a man with the wings of a bird is a very common com- bination, though only known in this one instance in Indian mythology. The central group represents Vishnu and his consort, Sareswati, while the figure on the left seems merely to be an attendant. 76 SCULPTURE, KYLAS.— ELLORA, oThavs the same rudeness in execution as the last, and the same inelegance of detail, but possesses a wild picturesqueness and vigour which charms in spite of its defects. The figure on the right is a giant Dwarpal, or porter, guarding the entrance, Behind him a figure in a chariot, apparently Arjuna, with his bow; and behind him again one of those figures to whom the Brahmans on the spot give the name that occurs most readily to their memories. It is not, however, the art of these sculptures that makes the Kylas so wonderful so much as their quantity and variety ; for after you have examined all those of the Temple itself, with its porches, and those of the stone bridges that connect one part with the other, there is still the cloister, and above this the beautiful Temple of Lanka and others cut in the rock on the sides of the pit, which make up together an exhibition of human labour and perseverance seldom surpassed. INDRA SUBHA.—ELLORA. T would be uninteresting to describe the remaining Caves of the Hindoo group, as among the photographs that have been sent to this country there are no illustrations of them. This is to be regretted, as among them the Doomar Lena is a finer and larger Cave than that of Elephanta, which it resembles, and there are several others of great magnificence. There is also, unfortunately, only one illustration of so-called Jaina group, the Indra Subha. It illustrates, however, the perfection to which the Hindoos attained in Cave architecture when once they became 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 bound by no utilitarian exigencies, they launched out into architectural magnificence, and succeeded in a manner rarely surpassed. 78 THE MASTER NEGATIVE,FROM WHICH THIS REPRODUCTION WAS MADE, IS STORED UNDER THE SUPERVISION OF THE LIBRARY PHOTOGRAPHIC SERVICE, ROOM 20, MAIN LIBRARY, UNIVERSITY OF CALIFORNIA, BERKELEY, CALIFORNIA 9 4 7 2 0 FOR ADDITIONAL REPRODUCTION REQUEST MASTER NEGATIVE NUMBER SE wy To SEE RL