Beruflich Dokumente
Kultur Dokumente
I'v/sioQ
Sr:
tir>r^
1917
oC^
#12, 5^5
THE ROCK-CUK
V^
0CT?<>19
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
LONDON:
JOHN MURRAY, ALBEMARLE STREET.
^
1864.
-*
.7
-J-
LONDON
PRINTED BY
R.
CI AV,
SON,
AND TAYLOR.
*i*
PREFACE.
During
to
be able to
visit
in
succession
it
the
all
princii)al
known
my good
was
groups of
exist
to
fortune
that
in
country.
first
examined.
In 1838 an
by a
The
visit to
in
the
1841
investigation
intervals
that
elapsed
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
The
were embodied
Volume
of
its
paper
in
1845, accompanied
i-
Journal.
by nineteen lithographic
in
in
Preface.
In consequence of the interest which these pubhcations excited
among
cration
past,
the
and above
all
to appoint
perishing Frescoes of
fast
some one
A junta,
make drawings
to
before
of
One
Major
a
result of these
Gill,
was appointed
to
the
artistic
skill
in
now
Ajunta
displayed in
of
copies
the
these
paintings
The
which pervade
pictures sent
all
he has done.
home by Major
now
at
Gill
during the
first
few
but unfortunately
The
only
be found
in
in
in 1856.
)ear to Mr.
Major
Gill sent
home
this
Indian subjects.
-*
Preface.
chase, of
life,
illustrations
of the
Mahometan
Of
many were
Indian
remaining
the
all
those in
Rock-cut Architecture.
The
text
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.
above
not intended to be a
to
sufticient to
This seems to be
tell
their
own
all
that
story far
is
more
without the text they form by far the most perfect and
factory illustration of the ancient architecture
of
satis-
India which
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,
AJUNTA ...
AJUNTA
6
7
THE OLDEST
AJUNTA
VIHARA. AJUNTA
VIHARA. AJUNTA
VIHARA NO.
IX,
THE OLDEST
lO.
8
'
AT AJUNTA
VERANDAH OF CAVE
NO.
II.
15.
VIHARA
16.
NO.
I4.
AJUNTA
AJUNTA
VERANDAH OF CAVE
NO.
NO.
11
I4
15
16
1
1
VERANDAH OF CAVE
9
lO
12
AJUNTA
AJUNTA
VIHARA NO.
6.
AJUNTA
AJUNTA
AJUNTA
1 7.
I7.
vii
19
20
Contents.
AISLE IN
IIAI.I.
OF VIHARA NO.
I9.
I7.
AJUNTA
.VfUNTA
.\JUNTA
NO.
19.
It
.
AJUNTA
NO.
19.
NO.
I9.AJUNTA
^5
26
9,
19.
AJUNTA.
AJUNTA
,\JUNTA
19.
19.
I9.
AJUNTA
AJUNTA
I9.
.\JUNTA
HINDOO SCULPTURE.
CAVE NO.
20.
CAVE NO.
20.
6.
.^i
I9.
.AJUNTA
7.
5.
37
38
39
VERANDAH OF CAVE
AJUNTA
.AJUNTA
AJUNTA
2.
2.
I.
I.
I.
AJUNTA
AJUNTA
AJUNTA
21.^
23.
23.
AJUNTA
41
42
44
4.5
46
47
AJUNTA ....
AJUNTA
AJUNTA
CAVE NO.
22.
4.
40
43
AJI^NTA
21. AJUNTA
,\JUNTA
I.
NO.
-AJUNTA
33
36
2.
32
35
4.
.SCULPTURE IN
VERANDAH,
.?o
34
CAVE NO.
29
AJUNTA ....
AJUNTA
CAVE NO. AJUNTA
FACADE OF
I9.
28
AJUNTA ...
AJUNTA ....
CAVE NO.
CHAITYA NO.
27
AJUNTA
.\JUNTA
24
48
I
AJU NTA
49
50
51
52
53
54
55
--:-
^
Contents.
PAGE
FACADE, NO.
24.
AJUNTA
56
AJUNTA
26. AJUNTA
NO. 26.
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.
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
till
a very
known
When Europeans
became
first
by
into
conspired
tainly
to
render
it,
that they
attractive,
as
they cer-
ancient
Hindoo
races.
In consequence of
all
this,
with regard to their antiquity and the purposes for which they
India,
at
Kapur
Introduction.
literature
Muni, the
faith, in
It
and of
still
less
a state religion,
till
all
his death
any of the
known
since brought to
or
light.
for
when Uasaratha,
Milkmaid's Cave"
Subha by Indradyumna
of the Indra
pletion
in
at
EUora,
in the
As might
that at
is
Raja Griha
in Behar,
being close
importance.
Andhra dynasty
Next to these
our
era.
same
Buddhism is concerned, but
of much more modem date.
On
to exist in Bengal.
Cave
known
at
Karli
to exist.
is
apparently
It is situated
illustrated
in
this
volume.
They extend
or eleventh
a. D.
froin
the
first
important period.
Next
^-
in
importance
to these
is
Inlroduction.
consisting of three series
First, a Buddliist
group, wliich
may
Hindoo
series,
one
Besides
there
this,
is
wholly Buddhist,
and
of
ages
various
Bombay
Bombay Harbour
and
the
well-known
there
another important
is
series,
Bengal or
Bombay
Altogether,
Presidencies.
it
may be
in India i,ooo
They
most interesting
before the
remains existing
series of architectural
Mahomedan
Conquest.
In
fact,
in India
The
which
in
structural
is
that
it
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
Aryans
an elemental
fust
any human
tion or idolatr}^ as
faith well
who has
prevalence
monument
its
can
We know
be.
it
no stranger
for
left
or material
We
judged.
fire-worship, as far
its
and no
could be
records
remain by which
it
till
the period
when
it
it
was superseded
may have
to
light
on
its
extinction.
What
really replaced
it,
some
effete
in order to
whom
the
allied themselves,
to
one of the
of India.
So
we know,
far as
in India.
pageantry
in the habit
and
it
The
climate
is
so temperate, that
for
IntroductiQn.
with the Turanian natives
is
the
fact, that
the earliest
are
remains as
still
if
The same
are in like
in
both instances
events,
how
repetitions in stone of
it
appears that
all
metal
wooden
structures,
and
it
more permanent
monuments we know in
to use the
the earliest
of the
was copied.
manner
the natives
it
materials.
At
all
wood
All the
classes.
is
is
essentially
itself.
Buddhist caves we
They
are
Chaitya caves
or
know
churches,
the
former being,
The
fact, for
little
hermitages, in
Fig.
single ascetic.
as
they are
might be
the residence of a
SCALE
25
FEET TO
IXCH.
As
lithic architecture
it,
i.
Introduction.
In the third, and by far the most numerous class, Fig.
expands into a
around
hall,
the
this
2,
the cell
of the
cells
monks
are
and
2.
AT AJUNTA.
SCALE 50 FEET TO
INCH
the Viharas
of our era
we
an image of Buddha
and
in
it
of saints
choir of
of this class
is
is
represented
in
3.
rood-screen.
This
is
^Introduction.
was obtained to the choir through one or three doors with which
was pierced. Internally, over the entrance, is the part corre-
it
is
window or
X.
QgaaaaaQiaaaaiaaaj
h)
u3
ai
o a
3 a
23
las*
>^'
20
10
30
The
is
altar, a
Buddha, or of some of
his saints.
Fii
/.M
SECTION
The whole
is
III
WE
AT
K'ARI.I.
over that
is
painting or sculpture.
roof
From
this
belt
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
in order to signalize
real
may be
Pseudo
The
first
caves with
roofs supported
by
pillars,
first sight,
being
They
cells or
are distinguished,
is
its
reception
Even without
and instead of
tectural
out
The
dug
all
all
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.
structural temples
The
and have no
architectural
distinguished.
indeed,
it
is
They
period of
Hindoo
art
how-
are interesting,
most
also fortunate
florid
being
in
abandoned most
vain
It is in
now
to speculate
on what may
first
have induced
It
we know from
alliances with
What, however,
great.
monu-
really led to
From
Nerbudda
homogeneous
in
character.
character which
Whether harder or
uniform
in
stratified trap
rocks per-
than the
distinguishes
rest,
the
hill
forts of
India.
it is
free
from
faults
may
penetrate.
The Tapty
is
and wide
valley through
some miles
it,
and opened
for itself a
On
deep
either
for
>b'
Introduction.
It is in
of the Tapty, about three miles from the outer edge or ghat,
that the
situated.
how
it
is
numbers by which
the
When
attached to them.
they
known came
are
I visited
be
to
some of
purposes for which they were excavated, and these were applied
same name
to
numbered them
like
to
another.
houses in a
To
all
first
difficulty,
street,
down
avoid
the stream,
and proceeded
to
Christian era
they may be
older
first
Mahomedan
Conquest.
It
may
also
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
At
also to
bridge.
dam back
little
in front of the
same time
or Palace
its
who
fell
are
still
to
as
field
known
in
our
of battle of Assaye.
a field hospital,
and the
picture.
stream
is
down
in the
artificial
lake
falls,
by which the
river
descends to that part of the ravine where the Caves are situated.
*':*
'
is
down,
at
the
The Caves
Half way
two nearly
by numerous small
which
it
falls
artificial
It
falls
obstructions
tlirough the
shewn
first
stratum
iir
a course of
by seven short
leaps, in a
narrow space
rocks shown in the view, which close the upper end of the lower ravine.
^.
>n
(;knekat, vif.w ov
T MMEDIATELY
cavks. atunta.
to
the
on
left,
tlie
last
outer sweep
of which
the
are situated.
This view
of which
is
this
interesting as
country
is
The
The
The
composed,
hill forts
river
And above
of this
perfectly
all
these three
celebrated
upper,
jiart
is
is
forms the
flat,
third,
which
it
also cuts
to the
of India.
-^
*h
CAVES
'nn'HIS view
Xo.
TO
and
2,
are those on
right nearly to
No.
i,
the
left
The demarcation of
The two
extends on
the
is
view, as also the nature of the scrub jungle, which covers the hills in every
direction in this country, forming an
immense
forest,
-^
-^
1
"'<v V,A. ^-..^
^^^iKiliii
y^
'"T^HE
The
first
left
view to
of the picture
6.
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
its
END OF
SOL'TllERN
""HIS view
rilK
is
16,
looking south-
ward, and represents the opposite end of the series from that of
illustration.
next
it
on
its
As
will
in
the extreme
left
that
known
as
No.
is
No.
and 24
26.
and
tlie last
Those
in
21.
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
^^smiKjM
llie
LARGER
10,
and interesting
rock here
its
is
As
is
which was
places.
It
pro'baiily
is
onlv
broader
in
by getting
the
To
else,
and
carries
left
two
tiie
is
now
hardly passable
in
^-
I
-*-
y),
tecture, as
came
it
two principal
rafters rest.
Below,
right.
cipals,
The
of archi-
two upright
on which the
posts,
of one of these
is
seen on the
flat
to
It
probably assumed
this
form because
it
the face of the rib lining the interior of the arch niav be seen the incised
footings into
great arch.
the
left is
form
may
represents.
inserted,
some sculpture
of
in this style
was necessary
To
side, are
On
wooden forms
The dimensions
it is
date, !>ut
difficult to
ft.
make
out
by 23
ft.
whom
CHAITVA CAVE
T NTERIOR
dimensions of the
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.
painted.
Above
these
is
the
Being actually of wood they have perished, but having been copied in
still
The dagopa
remain there.
of the
wooden and
square
relic casket,
on
its
to tell of
its
it,
also
ornamented
was
still
it.
shows marks
The
retains
its
tee,
originally stepped.
or
original
lo, rather
it
-Hh
'T^HIS
oldest Vihara or
Monastery
at Ajunta,
though
or internal supports.
and four
it
cells
how
of a square hall,
It
long before
36
ft.
It is peculiar at
No.
the
12,
in.
cannot
it
each
certainly anterior
now be
determined.
pillars
interior of
faces.
window on each
Towards the
side.
sort.
cell
In this respect
it
resembles
the old Cuttack and Behar Caves, none of which have any images in their
interiors,
the
acre at
which these
earliest caves
were excavated.
in the
West soon
after
*"
and
in this
front, four
On
cells,
residence of the abbot seems to have been, there are only three
much more
used
little
employed
niches.
richly ornamented,
The
rails
places
is
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
same
in the
cells,
Just as the
it
is
Romans
reality of purely
and
though
false
scale.
first
sight so obvious,
is
in
On
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,
is
No.
ii,
width only 28
feet
6 inches.
Notwithstanding
of
supports
afterwards
used,
though
introduction
became
being
their
so
The
good
external fa9ade
taste,
consisting
its
this
length being 37
it
feet,
first
example
^I
is plain, but in
of four
plain
approached by a
flight of
steps
the
to
ILAN' OF VIHARA NO. II.
SCALE 50 FEET TO I INCH.
position,
12
>t-
its
VERANDAH OF CAVE
T NTERNALLY
the
roof
of
verandah has
the
been
much
obliterated.
Its paintings,
painted,
and
is
though
now
very
interest,
as
they consist only of architectural patterns and borders, exhibiting what might
The doorway
with two
On
pillars
lions'
simple,
either side
is
standing on the
cills.
extent the
is
mode
and then
below the
capitals.
all pillars,
less
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
been
its
if
to
possesses no
sculptures
The
cells,
archi-
form
it
has
its
pillars are
to exist
Their
peculiar, so
style,
much
however,
is
so,
so pure
is
Cave
architecture.
14
no reason
is
would
indicate,
to
INTERIOR OF VERANDAH
'T'^HE form
is
flat
seen at the
old Louvre or Tuileries, and other examples of Renaissance, but above this they
slope inwai-ds in a
liy
architecture.
the Hindoos in order that the abacus of the capital should not extend
In other words
shaft.
a pillar with a
well
marked
it
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
having
this
may
arise
from
its
being
is
llie
venindaiis at
Ajunta.
*i<
-^
VIHARA
"\ T
UMBER
recently
15
is
filled
above, so as to render
scription of
mentioned,
sculpture of
it
its
To
inaccessible.
pillars
its
of the
now
the
in
same cause
verandah have
fallen
till
very
from a torrent
it"
may perhaps
and owing
to
good
to
style of art.
16
->t
*h-
VIHARA
"IVT
UMBERS
No.
ft.
is
pillars,
in painting
at Ajunta,
a square cave, 67
The centre
by twenty
adorned
17 are the
painting
16,
and 65
and
i6
in so far as
generally of an octagonal
form,
Roman
hall
ft.
is
in.
wide,
surrounded
alternating with
wreaths of flowers.
All the details of the architecture of this Cave are particularly good and
elegant,
more
with his
feet
interesting,
liave
down.
Some
hall.
The
figure
the sanctuary
is
seated
(iill
in
in the
facsimile,
next cave.
Most
of these
VERANDAH OF CAVE
'T^HE
-*-
verandah of
this
Cave, No.
i6,
is
No.
1,
and
its
roof
is
to
fix
their date
with
in the
certainty,
17,
exist,
and such
we
cannot be mistaken
between what
in
if
we
assert
Europe we should
that they
call
At
all
little
events
first
than
and that of
second-named
emperor.
The doorway
Cave No.
in
is
11.
18
i<-
,***W...
"\T
UMBER
resembles the
are 64
ft.
by 63
the other.
as
17, or,
ft.
It is
it
last
and
it
is
has twenty
pillars
dimensions
and the
in
much more
Its
much
No.
16.
The
entire than in
by
paintings which
are preserved to such an extent at least that their subjects can generally be
made
out.
The
pdlars
19
^-
in
this
Cave
are
more elegant
VERANDAH OF CAVE
A T
simile of
it
is
now
which
this
is
Vihara derives
Sydenham.
The
a wheel,
which
still
in
is
veiy perfect
Rome
in design,
fac-
name.
its
It evidently represents
black,
the
fifth
fairer,
the next
It
still
more
so,
may be remarked
fair,
but the
men
the last
The
as
first
the
four
fair as
an
more
women, however,
European
complexion.
-^
VIEW
A
^
in the interior of
pillars internally
Vihara No.
17, .representing
the
first
row of
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
all
sixteen are
richly painted.
The
and
is
bracket
India.
who
the
same
In this instance
The
part of
great interest of
its
interior
tliis
Cave
is
verandah, and those of the walls representing legendary scenes from the
Buddha and other celebrated IJuddhist worthies.
life
of
PORCH OF CHAITVA
'T^HIS
which
is
by
by 23
ft.
pillars
It is
Init
hand of
19,
in this series,
ft.
in.
by only seventeen
to the
it
lias
scarcely
its
There
this
is
Cave.
day as when
nothing to
It
last described,
is
fix
first
executed.
render
it
probable that
it
the
I'l.AN
i*-
C11--
CHAITVA NO.
scale, 50 keet to
ig.
in-ch.
"D EPRESENTS
ment
as the first
niches and
that,
if
little
Cave described
It
but, as will
decorations have
in
The
much
of their
wooden
origin
they could not be traced back, their derivation would hardly be suspected.
The wooden
forms, however,
still
great arch, and in the overhanging part of the rock which crowns the facade.
and
is,
rafter
last
-*
^^
npniS
view represents the sculpture on the right-hand side of the lower part
hand of
ment he
by the
in the
is
The
19.
Buddha
giving alms.
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
picture, he
so universal an
but
Cave No.
is
represented,
-^i
/^^N
is
in the front of
do on the other
side.
The two
pillars
same
Buddha
which
is
Beyond these
much
it,
is
represented
he
another figure
are repetitions
but in
com-
left,
No.
all
is
seen the
commence-
33.
pilasters
which separate
in
better preservation than such sculptures usually are in positions eqi'ally exposed.
-*
INTERIOR OF CHAITVA
"V
TIEW
and
light
being introduced
mode
The whole
of lighting.
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
on the
parative gloom.
floor
It
is
is
The
it
is
artistic
mode
aisles fade
into
com-
of lighting a building
of this class that has ever been invented, certainly superior to anything that
worsliippers
is
chapel or room,
its
ages.
It
might require
*^'*
ROOF OF CHAITVA,
'V
TIEW
in
still
retains the
wooden forms of
ribs
The upper
part of the
still
roof,
the rock they are probably stouter and thicker than they were
t9.~AJUNTA,
which
being cut
No.
daghopa
is
when
wooden
pro-
totypes, and are fast approaching those forms which gaveiise to the three, six,
in
China.
hemispherical
lirst
is
dome surmounted by
sight apparent
still
wooden umbrella,
is
certainly not
at
the direct hneal descendant of the other, and every step of the change can
be pointed
*-
Jains,
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.
decoration as
lie
No.
is
to
be found
in
19,
and form
in India,
taste.
]-)lain
The Romanesque
trary, trusted
and
also in Greece.
very
little to
Cave No.
colour, but
jo.
depended
pamtmg
own
and probably
tlie
The Gothic
artists,
to
country,
masonry
on the con-
shadow
effects.
.So
much
far as
can be
made
Cave No.
in
in
10
were very
consequence of
TRIFORIUM OF CHAITYA,
will
A^
roclv
be seen
19. AJUNTA.
No.
chunam
to
way
for the
be
left plain.
Though
may be supposed
it
it
this
could excuse
in their carving as
they
if
There
is
not
These
consist
sitting
ones
much
of alternate
all
and standing
sitting
triforium belt
itself
of Buddha.
The
much importance.
figures
is
in
very nearly the same, no two figures are exactly alike, and the variations
is
TRIFORIUM OF CHAITVA
/^~^
REAT
richness of effect
is
These
in every instance,
consist,
of a square
The
brackets on either side of the central block differ every one from the other,
men on
horseback, or elephants, of
griffins,
in the
and dragons
in
short, a
whole
we
can hardly
identify a very
we know
the subject of
30
tiie
all
it,
though
Indeed,
Viharas.
more
TRIFORIUM OF CHAITVA
'
filled in
they are
all different,
Human
tion.
with
scrolls, in the
a matter of course
As
to the effect.
They,
in
this
and which
The
is
shafts
ornaments,
the ornament on
and never
it
also covered
with sculptured
them
is
of a
much
soberer and
more
architectural
form,
ornaments.
-^
-..'*:i^^^^#(4%**^^#^:
/^\N
^"^^
you
No.
ly. AJUNTA.
enter,
is
This
is
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
not
as the C'haitya to
original arrangements,
sjulpture of
two
may be
which
it
it
was added
date.
the angles.
It
ji\ersal in Indian
is
arcliilceturc.
here,
->^i
lilXDOO SCULPTURE.
OPPOSITE
ably more
is
an'alto-relievo of a consider-
it is
attached, and
probably the only thing that can be ascribed to the Brahmans at Ajunta.
It represents
a very
Vishnu
sitting
with
On
after the
the Chaitya,
it is
Hindoo
sculpture, that
end of the
In
it
is
must be old
when
There were
the
inten'als long
older probably
series.
style, it
resembles very
much
some of
those at Ellora.
33
-^
CAVE
'
I
""HE
last of
this
group
is
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
columns
There
capitals.
for
is
two on each
monks,
side.
and making
its
front consist of
two
in antis.
is
also a
The
verandah
in front,
sculpture of these
is
Cave No.
free,
is
34
>i
CAVE
'T^HE
on the
roof.
and flowers,
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
tlie difficulty
dr)a-iess
With
V. ill
this
now be
Caves
in the north,
not for
it
can be no doubt
first
and
it
seven
last six at
35
-^
FACADE CAVE
1\ T
UMBER
some
It consists
in
is
peculiar
among
No. 7. AjUXTA.
at Ciittack.
ft.
in. in
verandah
is
unlike
length, by 13
The
it.
ft.
pillars each.
probably not
Doomar Lena
There
is
7 in.
at Ellora,
to the
and therefore
two
pillars at
Though
it
any others
externally at
it is
probably as pleasing as
least.
36
>t
CAVE
XT UMBER 6
is
been excavated
places.
Xo. 6. AJUXTA
in
Cave
is
interior has a
damp and
common
in
Cave
architecture.
The
halls of
both
stories are of
pillars.
the
same dimensions, 53
are
ft.
square, the
introduced in
the centre.
The
will
be observed
in the
absence giving an
awkward
it
-*
FACADE CAVE
"IV
UMBER
5 is a small
unfinished, so that
as the series of
On
it
is
it
careful examination,
however,
it
would
attempted
peculiarity about
its
it,
and
age, but
No. 5. AJUNTA.
may
it
in succession,
be seen that
No.
4,
are so inferior in
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
is
No. 4. AJUNTA.
situated higher
up
when
its
existence
leaving
too
till
late to return.
its
age or any of
both from
looks as
its
if it
perceived
its
it
it,
that I
enal)le
This
me
is
the
more
to
be regretted
finest
was not
arrangements.
as
than the
would
it
cliff
aware of
the
in
it
Viharas of the
as,
its details,
it
series.
39
-*
is
No.
4. AJUNTA.
pillars in front
simple octagons with bracket capitals, but without bases, or any inter-
mediate
member to break
Cave architecture
is
more
so indeed than
many
of the
among
modern
those so
as this
one evidently
more
especially
is.
-fo
*i*
-*
SCULPTURE
'"T^HE
wall
painted,
I\
at the
which
character
we
Its presence,
VERANDAH OE CAVE
is
No.
4. AJUNTA.
The
style
effect to this
verandah which
washed
off,
is
want-
TT?TtllIlJI
41
>-:*
>.^-
*''*
EXTERIOR, CAVE
nr'HE
on the
ings, particularly
is
No. 2. AJUNTA.
It is in
xviii.
pillars,
is
end of the
position.
Though
modern
])erfect
is
in
the dimensions of
its
in
two male
to represent
is
it
is
figures
by no means
is
aisles.
Who
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
pillars
The lower
work.
two principal
At
cells,
either
also a rich
it
life
a smaller porch
of Buddha.
4.^
end of
as to
is
of
portion
hall
No. 2. AJUNTA.
for
metal than
made up by
The doorway
bassi-relievi
its class.
'^
VERANDAH, CAVE
'Tn'HE
principal effect of
tliis
Cave
is
No. 2. AJUNTA.
derived from
its
paintings, especially
class of his-
torical paintings which adorn the Viharas 16 and 17, being generally only
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
effect
alto-
and
this
example.
"^7
FACADE, CAVE
^pHE
first
Cave
richly carved,
The
Its
ail
all
I.
AJUNTA.
interior has
sculpture and
i.
64
No.
^ 'WW
ft.
it
miglit be said,
Tlie hall of
in
diameter,
its
all
interior
is
of them
capitals.
filled
some of them
this.
some
-)5
i^
*t
FACADE, CAVE
'
I
^IIE verandah of
as usual in a
Cave
this
cell at
in antis,
9S
ft.
in
it
is
No. i. AJUNTA.
is
2,
in con-
As
advance of the
six
which are
still
perfect.
These
latter,
at either end.
The
pillars
standing
which form
or rather four,
in
the real
counting
piers,
but they increase in richness of decoration from the flanks to the centre, where
they are richly decorated circular
shaft.s,
46
i
^
^tSf'^fKi
FACADE, CAVE
""
No. i. AJUNTA.
shafts,
with
The two
ornamental markings, and the half columns are square, with only a circular
necking below the square block of the capital.
All these
pillars,
The whole
effect
is
however,
is
varied.
No.
4,
series.
47
FACADE, CAVE
TT
not easy to
is
centre.
it
Taking
as
is
is
we
remains
binding
to
i.~AJUXTA.
capitals,
double
make out
From what
No.
it
be found in
is
for
variety
and there
which
same
si/.e
but the
toirether as a whole.
amount of
jioses,
2),
it
is
combined with
If the principles
falls
but
it
on which
seems there
is
it
an
to
quote a
or pretensions.
4X
rival
in
-;^
T NTERNALLV
No. r. AJUNTA.
Owing
to the
its
having depended
each angle.
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
In the next two only at the top, on the outside ones not at
Hindoo thought
for
in the centres,
their
the
architecture,
but
all
every phase of
or design.
49
DOORWAY, CAVE
^
I
""HE doorway
is
No. i. AJUXTA.
ornamented a Cave,
Ijut
it is
still
remain,
Besides
it is
probable that
this,
it
it
its
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
it
was
subdued.
that
if so, it
richly sculptured
at
one
it
is
showed
design
on either hand,
insipid.
feet in diameter.
As
They
VERANDAH, CAVE
51
ft.
in.
by 52
ft,
is
in.
a large
Vihara
pillar.s
of the
it
is
2,
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
residential cells,
Two
aisles,
mode
clearly
when
this
and
of these have
two
how
also remain,
pillars
one of which
{<.
its
details.
is
verandah are gone, the end pier on both sides remains, marking
sions
pillars
represented in the
all
in
its
dimen-
DOORWAY, CAVE
nn H E
the
doorway
same
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
Internally
left
how-
Indian
architecture,
your
21. AJUNTA.
its
hand
paintings are
as
you
enter,
now
where there
still
Buddha,
of a black complexion, or at least very dark, but with led hair, and attended
by black
slaves.
->i*
CAVE
'
"HE
Vihara No. 22
is
a small Cave,
only 17
ft.
except two, which are merely rough hewn, in front of the sanctuary.
owing
which
It is
it
to the fac^ade
having fallen
it
left
down from
unfinished
had,
is
now
was sculptured.
now used
followers,
and
fact,
internally,
lost,
iii
whose
stations will
as a residence,
if
is
fierce
sitting
jemadar,
who
is
attitudinizing
on the
53
right, to the
tiie left.
FACADE, CAVE
TV T
UMBER
23
to Nos. 2
is
and
21
it
left in
a very unfinished
The
ft.
by
1 ft.
It
to an extent
and
dimen-
and shallow
else,
Its
in.
are small
state,
and
else,
are
their details
leit
unfinished.
54
on the flanks
VERANDAH, CAVE
'
^HE
unfinished interior of this Cave and the next one (No. 24) are interest-
it is
is
doorways.
finished.
In another
On
the greatest
the whole,
appears that
it
labour.
is
it
is
The blocking
a rock-cut structure
adopted were
it
is
such that
it
If this
be
far
so,
the dura-
more generally
is
power of
lighting
them frequently
is
nisufficient.
55
FACADE,
TV T
UMBER
-'
finished,
ft.
if
each way.
with
slits in it.
The
pillars of the
which no
doubt were intended to crown them, judging from the mass of plain rock
that
is left
over them, as
From such
if
details as exist,
we may
infer
that,
if
we have
and twelfth
centuries,
Though
at Delhi
series.
and elsewhere,
in the eleventh
in the Choultrie to
Cave No.
19,
age.
ornament
is
almost universal
at
W;
nr^ HOUGH
some
there are
I,
In general plan
it
is
7 ins.
ft.
and the
total length
series
that
at
if
is
66
ft.
indeed,
in.
more
nave
more
its
ft.
Cave of the
much
so,
other proof were wanting, this alone would be sufficient to stamp this
latest, if
'T^HE
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
is
rest.
made
out,
it
unusual at Ajunta.
Internally the walls of the aisles, instead of being painted, are covered with
sculptures,
among them
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
accompanied
original purity
when
the
Cave
^-
THE
CAVES OF ELLORA.
^*
ij,
m. T3-^iii[;r,bA .r.f.ri
t .t-t, ;
jj
nm
INTRODUCTION,
\ LTHOUGH
do not possess
that unity
interesting
Cave
more
far
It is only,
stand.
their
must be
it
difficult to
become
under-
becomes
at all intelligible.
It
is
not, therefore,
theories were
first
their complexity,
it
the
earliest
to
be wondered
made known
also
happened
of which
series
to
such strange
that
at
age
their
to
Europeans
any trustworthy
and uses
for,
beside
Caves were
illustrations
were
materials
existed
for
forming
judgment
first
years of this
century
and the
in
writings of Seely, of
all
contributed to
at the
with
Cave
architecture,
them
to classify
^
Introduction.
The
Of
these
be
said
to
in
more of the
consequence of
hill,
and not
their
in a nearly
front of them.
an entrance through
perpendicular
all
the caves
cliff.
at
From
this formation
is
left
all,
warned of the
fact.
On
it
compensate
^^^
62
OF
nor
Cave
is it
so rich in
its
details as the
of"
The two
and
simplicity.
rich
and handsome
ft.
the
It
series.
wide
two
Temple
pillars that
is
is
internally,
later
is
and 83
ft.
in. in
length
Chaityas at Ajunta.
by
flying figures
is
Buddha
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
and
excavated, and was fast merging into these religions that superseded
63
Cave was
it.
THE most
On
pillars of
three sides
it
is
is
its
court.
Above
this runs
frieze, filled
with elephants and animals of the chase, singularly well executed, and above
this
The
simple semicircular
window over
something
is,
what we
call
is
modern
that
it
original than
The
canopies
seems impossible
to carry
here divided
the date of their execution beyond the seventh or eighth century, while
64
it
may
-^
^T,.-.
-v
VIHARA. ELLORA.
*'
Chaitya
this
ft.
its
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
The
about
the
as
in
this
same average
But the
size as
those
of
illustration,
with
those of the
were probably
executed within the limits of the same century as the Chaitya itself, most
probably
all
6.S
^i^-<^y-
IMMEDIATELY
The
stories.
Do
called
first,
Most of
its
may be assumed
Buddhistic in
or
Tal,
into a
Dookya Ghur,
is
to
be,
without doubt,
by
Brahmanical Chaori.
It
is
it
strictly
The
next, or
Teen
stories,
Tal, as
last ni
it
The
pillars of the
;
indicates,
arrangement and
though deviating so
Ellora type
name
far
in
left
unfinished.
is
detail.
66
is
only
'^-
"HE
is
called the
Dus Avatara,
Avatars
of Vishnu
is
The upper
storey
supported by 44
all
pillars
of a Vihara, there
hand,
is
is
sculptures.
its
flooi,
but in
the right
hand eveiything
which
aftei-wards
is
became
is
his
way
the roof
pilaster.
Parvati
On
the
left
and
in
the
On
occupying
can be no doubt but that these sculptures formed part of the original decorations.
The whole
of
them
Hindoo
sculpture,
*h
NOTHER
is
This
is
left
standing
in
we probably must
This Porch
is
Sivite temples,
at
the
rock
first
known attempt
really
and
had no use
for caves,
who
to repro-
by the
Brahmans, who
least
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
frieze.
stories
accomplished, the fa9ade has consequently a clumsy and heavy look, which
T) ETWEEN
the
two Caves
or Ashes of Ravana.
mentioned
last
Among
though more
It is similar in design,
much
is
its
locality
so as to justify
would assign
to
at choupers, a
its
florid
than
being placed in a
it.
Cave
is
one of
.Siva
draughts, an
engraving of which was published in the second volume of the "Transactions " of the
Below
there
a group
of
the
Gana
dwarfs
which seem
to
It is
is
The
architecture of the
Cave
is
very
florid,
common
69
at
but
EUora.
all
r*-
THE
ground-plan of the Kylas here given will serve to render the parts
illustrated
AA
is
on the
first-floor
side,
Vimana.
F,
r,,
is
E,
D, the cella
or porch,
all cut,
is
of
the
lateral
One
called Lanka.
70
^-
intelligible.
Mantapa
the detached
great Vimana.
c,
B,
of these,
now approached
only by
KVLAS. ELLORA.
"V T
them
ficence as
Kylas
it
next in situation
may
and which
it is
not,
turies, did
that
we know
we know
of
magni-
most remarkable,
this excavation.
who
is
we owe
their architectural
it,
afforded
certainly, the
is,
Rock
Strange to say
date to
it
the
though
as
made
this quarter,
It certainly
is
and
it
is
to them, probably,
VIMANA, KYLAS.-ELLORA.
'T^HE
Vimana
itself,
shown
in the
above view,
is
an octagonal dome, as
is
The
oblong one.
It terminates
are
interstices
filled
in
Below
in the centre,
an
The temple
class as the
at
Kylas
Dhumnar
;
but
it
The
it is
far
is
is
design, and, as
of the
style,
though from
its
effect.
may be
same
five smaller
Hindoo temple
much
similar in
nr^HE
pit in
length,
and
illustrated in the
is
surromided on
annexed view.
all sides
by a
Like everything
ft.
in
cloister of
width by 270
in
is
it
has the
defect of being a literal copy from a structural fomi without any adaptation to
its
position.
when
The consequence
is
ft.
over them.
The back
of the cloister
is
free
in its
all
style.
It is
when
standing
we become aware
of the grandeur of the composition, and feel that the whole fonns an architectural picture not often surpassed.
73
'
historical
and
every part of the Kylas adds immensely to the impressive but mysterious
effect
There
are,
its
for instance,
and
variety
two
is
as
remarkable as
bas-reliefs,
as could only
its
quantity.
On
Ravana
is
tier,
to their
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
-^-<
'
I
""HE pendant
Rama, from
of
characterises
Hindoos, and
is
this
is
the Ramayana,
composed of episodes
Pandavas
whom
is
had
one
and then
life
filled
the
a battle
off.
Having
line blank,
in
left
make
campaigns
out.
75
it
is
-<-
/fk.
'TT^HIS photograph
inferior
to
The group on
The
figure
is cei^tainly
on the
and execution
rich
it
man
one instance
left
which
is
and picturesque.
central
in its design
the man-bird, an
Pantheon, where a
bination,
Both
in
Garuda,
mode
in
a very
common com-
Indian mythology.
76
is
the Assyrian
,-.x~
SCULPTURE, l^VLAS.-ELLORA.
T)ETRAYS
execution as the
last,
which charms
The
figure
in spite
of
on the right
in
its
is
defects.
name
not,
wonderful so
all
whom
And
much
as their quantity
Temple
itself,
with
and variety
its
for after
pit,
bow
those of the
the beautiful
the
is still
tiiis
seldom surpassed.
77
>1*-
TT
would be uninteresting
group, as
among
to tlescribe the
Doomar Lena
is
This
is
to
be regretted, as
Cave than
among them
that of Elephanta,
the
which
it
There
is
also, unfortunately,
It illustrates,
to
rock as to enable them to dispense with structural forms, and adapt these
their later caves almost surpass those of the Buddhists, for being liound
utilitarian exigencies, they
succeeded
in
by
ii<>
DS420 .C3F3
The rock-cut temples of India
...