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COMMEMORATING THE SACRIFICE:

THE MEMORIAL GALLERY AT GANESH
LENA, JUNNAR

Article · January 2014

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 COMMEMORATING THE SACRIFICE: THE MEMORIAL
GALLERY AT GANESH LENA, JUNNAR

ABHIJIT DANDEKAR AND GOPAL JOGE

The Buddhist cave complexes at Junnar of architecture and inscriptions of early

(Dist. Pune, Maharashtra) are well known
not only for their architectural grandeur but
also for the epigraphical data they have
preserved. There are around six cave
complexes around the Junnar town. They
are Tulja, Manmodi, Amba-Ambika, Bhut
Lena, Bhimashankar and Ganesha Lena
respectively. All these cave complexes have
been studied in considerable detail by various
scholars. These scholars have thrown light
on different aspects of the Buddhism and
its development in the region by the study
centuries of Christian era.
In spite of such studies very little is
known about these caves and their function
after they were deserted by the Buddhists.
The Ganesh Lena group of caves has
preserved certain evidence which allows us
to understand the function of these caves
in the post-Buddhist period. The Ganesh
Lena cave or the vihara of the group has
depictions of memorials carved on its left
wall (Fig. 1). Present paper deals with these
carvings and their documentation. It is really

Fig. 1: The Memorial Gallery in Ganesha Lena, General View

66 Bulletin of the Deccan College 74 (2014)

surprising to learn that none of these

scholars has paid much attention to these
carvings. Only a short note in the old
gazetteers of Bombay Presidency (Volume
XVIII, part III: 208-09) mentions them
briefly.
There are a total of 18 such carvings on
the left and back wall of the cave. They
begin after the 2nd cell and end before the
Ganesha shrine. The first four carvings are
grouped in pairs as are sixth and seventh.
The rest of the carvings are randomly
placed, barring the three depictions at the
end. These carvings are grouped according
to their positions and are divided into eight
groups in the present study. Following is the
description of these depictions. The
description follows a general pattern of
bottom-to-top sequence in the case of multi-
bracketed panels.

Description of the Memorial Stones

Memorial 1 A has five narrative panels
(Fig. 2). The woman is sitting on a funeral
pyre probably with the body of hero/husband
surrounded by flames, which are shown
very prominently.
The battle scene is depicted in the next
panel in which one person is shown fighting
with another two persons. The hands of both
the warriors are raised with the left hand
probably holding a shield and right hand, a
sword.
The third panel is completely eroded.
The fourth panel depicts a woman
probably mounted on horse walking towards
her right.
Fig. 2: Memorials 1A and 1B
The fifth panel is less visible. However,
if we compare the depiction on the
succeeding memorial which is stylistically
similar with the present one, it could be
depicting the Sati sitting in front of a
Shivalinga.
The raised right hand of the Sati is jutting
out from the bracket of the forth panel. It is
broken in the upper portion but the fingers
can be seen.
These panels are topped by a three-
tiered roof (which is looks like a Phamsana
type of design). On the top of the roof is a
central kalasha motif flanked by two rows
Commemorating the Sacrifice : The Memorial Gallery at Ganesh Lane, Junnar 67

of leaf motifs on either side. The design of

the roof resembles the kapotali portion of
a temple. Depictions of the sun and the
moon are on the right and left of the
memorial respectively.
Memorial 1B (Fig. 2) is similar to the
first one. It too has five panels. The
bottommost panel depicts the body of the
dead hero/husband lying on the funeral pyre
and the woman sitting alongside.
The second panel depicts two warriors
engaged in battle holding shield and swords.
The third panel is completely eroded.
The forth panel depicts a horse mounted
by the Sati riding towards right. The right
front leg of the horse is raised.
The fifth panel has in its centre depiction
of a Shivalinga. The Sati is depicted sitting
on the left side and the hero right side
flanking the Shivalinga.
The raised right hand of the Sati is jutting
out from the bracket of the forth panel.
The top has a three tiered roof which
has a design of cyma recta that looks like a Fig. 3: Memorials 2A and 2B
kapotali the lower fire going outward from
the side. Upper most part of the three tiered Memorial 2B is shorter than 2A. Memorial
roof topped by the kalasha which is fixed 2A has a five narrative panels. The bottom
in two outgoing foliage type of design, most, very crudely executed, depicts funeral
however on the corner of lower tiere on pyre. Probably the body of hero/husband is
the left has a sun and right has a moon. shown lying along with a sitting Sati.
Although both these memorial stone are Panel number two is also crudely
carved on high and bold relief, the execution executed and probably depicts a battle
of the panel is quite crude whereas most of scene.
depictions are in eroded condition. Both are The third panel is totally eroded.
narrow and torn. The forth panel depicts a horse walking
Memorials 2A and 2B (Fig. 3) are cruder towards right probably mounted by the
and narrower than the previous ones. Sati.
68 Bulletin of the Deccan College 74 (2014)

The fifth panel depicts a Shivalinga in good. The hands of 2B were adjusted in
the centre. The Sati is depicted in sitting the narrow space of both panels.
posture on the left side of the Shivlinga and The depiction of memorial (?) 3 has a
the hero on its right. He too is sitting. circular carving but has large amounts
The panel is capped by a three tiered of vermillion on it obliterating the depi-
roof. The lower tier has a cornice going ctions and thus making difficult to inter-
outwards whereas the other two re- pret the panel. Hence it cannot be said
semble the amalaka design. At the with surety whether this panel is a memorial
pinnacle is a kalasha. The sun and the moon or not.
motifs are depicted in the corner of the Memorials 4A and 4B (Fig. 4) are
cornice on the right and left sides of the carved in high and bold relief. They are
memorial respectively. The raised hand is apsidal in shape and are devoid of any
jutting outward from the border of the forth depictions. Vermillion is smeared on their
panel. surfaces.
Memorial 2B follows the same theme
as the previous one. The bottommost panel
is less visible and probably has a depiction
of funeral pyre on which is laid the corpse
and the Sati sitting next to it.
The second panel depicts warriors in
fighting posture.
The third panel is totally unclear.
The forth one has the depiction of a
horse mounted by the Sati walking towards
right.
The fifth panel has the depiction of a
Shivalinga similar to the previous one.
The top of the panel has a pair of
cornices topped by a round amalaka, and a
kalasha along with two diverging leaves.
The base of the lower cornice has depiction
of sun and moon on the right and left sides
respectively.
The raised right hand of the Sati juts out
from the fourth panel.
Both the panels are carved in not so bold
relief. The condition of the execution is not Fig. 4: Memorials 4A and 4B
Commemorating the Sacrifice : The Memorial Gallery at Ganesh Lane, Junnar
Memorial 5A (Fig. 5) shows a different
pattern than groups 1 and 2. It seems to
have departed from the traditional
narrative pattern and it appears that this
particular panel signifies the transition from
the sati-stone to the sati-pillar. The pillar is
depicted in a bold fashion whereas the
panels are missing. Only an outline is
provided to demarcate the memorial. At the
base of the memorial is the funeral pyre.
Other details of the narrative such as the
battle or journey to the heaven or even her
Fig. 5: Memorials 5A and 5B
69
union with the deity are missing. A
prominent hand instead juts out from the
pillar.
Memorial 5B (Fig. 5) is circular in
shape. It has a depiction of two people, one
mounted on horse walking towards right.
The rider appears to be holding a sword in
his raised right hand and turning backward.
The foot soldier behind the horse has a
sword in his right hand and his left hand is
raised.
This particular panel is not a memorial
in the strictest sense of the term. However,
it is quite possible that it has some
connection with memorial 5A. The event
missing in that panel could have been
depicted in this panel.
Memorial 6 is broader at the base
and it slightly tapers towards the top. It is
divided in three narrative panels. The bottom
panel depicts a women sitting with the
corpse of the hero on the funeral pyre. The
central panel depicts woman mounted on a
horse. The horse is walking towards left.
Both the hands of the woman are raised.
The third panel depicts a Shivalinga in its
centre flanked by two sitting persons. The
raised hand of the sati is jutting out from
the second panel and is carved in bold relief.
The palm too is shown very prominently.
Top of this memorial has a dome in the
centre. It is flanked by two pointed
projections on either sides. These projections
are very much akin to the shape of a
minaret.
It is interesting to note that the right
border of the memorial is done in lower relief
than the left one. The left border is so bold
70
Fig. 6: Memorial 6
that it almost resembles a pillar thus recalling
a Sati pillar.
Memorial 7A (Fig. 7) is two-paneled.
The first panel depicts Sati sitting on the
funeral pyre. Her right hand, raised, appears
to be in ‘abhayamudra’. The second panel
depicts a horse mounted by the Sati. Both
her hands are raised. The horse is shown
walking towards right with his front right
leg raised.
The depiction of memorial 7B (Fig. 8)
is not very clear. The border of the
Bulletin of the Deccan College 74 (2014)
Fig. 7: Memorial 7A
bottommost panel is visible. The right hand
border, which is also visible, looks like a pillar.
The hand is jutting from the middle of the
pillar.
This feature, 8A (Fig. 9) has a
rectangular base and apsidal top carved in
recess. There are three small sockets above
this feature forming a sort of triangle. This
feature appears to be of a later period than
the memorial friezes. This could be
Commemorating the Sacrifice : The Memorial Gallery at Ganesh Lane, Junnar 71

Fig. 9: Memorials 8A and 8B

Fig. 8: Memorial 7B

contemporary to the Ganesh shrine as it is

placed very close to it. This feature probably
served as a niche for lamps.
Memorial 8B (Fig. 9) has a square border
topped by a kalasha at the centre. Three
figures are very roughly carved inside the
square border.
Memorials 9A, 9B, 9C and 9D
(Fig. 10) are tall, narrow and are devoid of
any depictions. Each of them is topped by a
kalasha carved in high relief. There is small
triangular projection below 9C. Fig. 10: Memorials 9A, 9B, 9C and 9D
72
Discussion
The tradition of erection of memorials
for the deceased begins with the Megalithic
culture in Maharashtra. The phenomenon
of erecting narrative multi paneled
memorials to commemorate the deceased
‘hero’ emerges during the early medieval
period in India (Settar and Sontheimer 1982).
Reasons for death were obviously
numerous. However, the depiction follows
a specific theme (of course with certain
variations) in which cause of the death,
either during a battle or a cattle raid or ritual
suicide was depicted on the lowermost
panel. The panel above it generally depicts
the journey of the deceased hero towards
heaven accompanied by two celestial
women flanking him. The topmost portion
depicts his union with god, either Shiva in
Linga form (in most of the cases) or Vishnu,
Ganesha, Mahalakshmi or in some cases
even Buddha or a Jina.
The tradition of Sati also was in vogue
in this period. Hence the wife/wives of the
hero probably took to self-immolation on the
same funeral pyre. This event too was
depicted on the memorial panel. In order to
depict her sacrifice certain modifications
were made in the overall scheme of the
panel. A lady seating with a corpse on the
funeral pyre was depicted on either the
lowermost panel or the panel immediately
above it. In addition a couple would be
shown seating next to the deity. The most
important feature of such memorial stone
was the ‘hand of Sati’ in abhayamudra
which was added on the right hand side of
the stone. This feature essentially
distinguished a sati stone from a hero stone.
Bulletin of the Deccan College 74 (2014)
Settar has classified such memorials as
‘hero-sati composites’ (Settar 1982: 191).
Coming to the depictions in the cave at
Junnar this phenomenon is noticed on some
of the panels. The first four panels (Nos.
1A, 1B, 2A and 2B) are clearly the hero-
sati composites. Another interesting feature
these panels is that all of them are five
paneled friezes. The lowermost section of
all these friezes is singularly dedicated to
the depiction of the event of Sati. One can
see a gradual change in this very depiction
in the next panels. Panel nos. 5A, 6 and 7A
show this gradual change. Panels 6 has
three panels and the 7A has two
respectively unlike the previous ones which
are five paneled. Yet both of them have a
lady seating on the funeral pyre in their
bottom most panels. It may be added here
that while the panels one and two depict
the cause of the death of the hero, these
two panels are totally dedicated to the Sati
thus distinguishing and signifying her
sacrifice from that of the ‘hero’. These
panels can be classified as either ‘Sati
stones’ or as ‘immolation stones’ if one goes
by the classification of Settar (1982: 191).
Panel no. 5A depicts a further change
in the depiction. Instead of depicting the
complete event in the form of a detailed
frieze with either three or two paneled
narrative, it only shows a ‘post’ with a hand
jutting out of it. This however, does have
the depiction of the funeral pyre with a lady
seated on it with the corpse of the deceased
on her lap very prominently thus
underscoring the gravity of her sacrifice.
Panel no. 7B conforms probably to the same
Commemorating the Sacrifice : The Memorial Gallery at Ganesh Lane, Junnar
tradition. It depicts the hand and the pillar
distinctively.
Such gradual development in the
depictions reaffirms the merging of
‘classical’ depiction of into ‘arm, hand and
pillar’ over a large period (Sontheimer 1982:
280).
The other panels in this gallery are devoid
of any such depictions and hence nothing
much can be said about them. However a
gradual change in their overall appearance
can nevertheless be observed. Panel no. 3
is unclear to comment anything about it.
Panel 4 shows a pair of blank arches very
much akin to the small shrines found either
on the road-side or in the fields in the rural
Maharashtra even today. These shrine
generally house either a protector deity or
an ancestor of the owner of the field. So it
can be concluded that these blank arches
also probably were meant for the
remembrance of the dead.
A circular frieze below the panel 5A is
very roughly executed. However, a battle
scene can be observed on it. If we try to
correlate this frieze with the panel above, it
can be said that the missing event of the
battle, though discarded in the panel, is
shown independently in this frieze. This
however is only a speculation and more such
panels need to be observed before making
any conclusive remark.
Panel 8B has three roughly carved
figures which are unclear. All the members
of the ninth panel (A, B, C and D) are
devoid of any figurative depiction. However,
in their appearance they very much
resemble the ‘Samadhis’ commonly noticed
73
in the region. Khare (1982) has documented
such samadhis in Pune district.
Dating of the Memorials
One major obstacle in dating these
memorials is absence of any inscription or
any other device that can serve as a clue1 .
Some discussion however can be
undertaken on the basis of their stylistic
features. The first two panels appear to be
the oldest in the set owing to their elaborate
nature. Such five paneled friezes are very
rare. According to Sontheimer (1982: 280)
the Sati seems to have been relatively rare
in the pre-Yadava and even the Yadava
period in Maharashtra. When it occured it
was depicted realistically. Hence such
realistic depictions at Junnar can be dated
to the pre-Yadava or Yadava period.
The Borivali or Eksar hero stones of c.
12th century (Cousens 1998) in Mumbai and
Ratanwaddi hero stones from the
Amruteshwar temple show some similarity
as regards the general arrangements of
panels and top portion of the friezes. All of
them have rectangular bodies and stepped
pinnacles with Kalasha motifs. Though
precise dating of any of these hero stones
is not possible, one can compare the stepped
pinnacle with the Phamsana style of
architecture which was prevalent in the c.
9th century onwards. If one is to go by the
hypothesis of Mate (1982: 79-82) it is but
natural that the sculptors of the hero stones
imitated the classical superstructure while
sculpting the pinnacle of these memorials.
On stylistic basis, thus one can tentatively
place the first four memorials at Junnar to
around 11th-12th centuries.
74
Subsequent change in the style such as
reduction in the number of panels from three
to two and finally a symbolic ‘hand’ with
depiction of the Sati at the bottom can be
explained as change through time and can
be roughly placed in the time bracket of
14th-16th centuries. Rest of the memorials,
though not of Sati strictly, can be dated to
the later period.
At this juncture, another interesting
question arises and that is when exactly did
this tradition come to an end. A probable
answer lies in the existence of the Ganesha
temple in the same cave. There is a
consensus among scholars that the
emergence of the Eight Vinayakas
(ashtavinayaka) is co-terminus with the
rise of the Peshwa power in western
Maharashtra in the 18th century. Naturally,
such a phenomenon would put an end to
whatsoever earlier practices prevalent
before its inception. It may be noted here
that the obliteration of the memorial friezes
1A, 1B, 2A and 2B could have taken place
when the cave was modified in to the
shrine. Memorials 6, 7a and 7B were also
plastered over 2 . It was definitely an
attempt to put a formal end to the previous
practices that took place in the cave and
thus changing its function. Hence it can be
said that the practice of hewing such
memorials in the cave went into oblivion
sometime before the inception of the
Ganesha temple in the cave.
Another point of discussion is the
multiple roles played by the cave in different
phases. During its early period it served as
a Vihara for the Buddhist monks. In the
Bulletin of the Deccan College 74 (2014)
medieval period it served as a memorial
gallery dedicated to the deceased heroes
and their wives. And since the late medieval
period until today it functions as a shrine of
a Brahmanical deity. Thus this ‘site’ is not
a ‘single culture’ site but a multi-cultural one.
Unlike an archaeological mound, its layers
are not above each other but are embedded
within. Hence the ‘excavation’ of such sites
needs a different methodology. One needs
to understand this functional multiplicity of
a monument in order to understand the
changing cultural patterns through time.
Acknowledgements
The authors wish to thank the authorities
of the Deccan College Post-Graduate and
Research Institute for funding the project.
Thanks are due to the ASI, Mumbai circle
for granting the permission to document
Ganesh Lena. We also thank Dr. Sachin
Joshi and Mr. Girish Mandke for their active
participation in the fieldwork, Dr. Tosabanta
Padhan and Mr. Sunil Jadhav for
photographic equipment, Mr. Rajesh Poojari
for the digital enhancement of images and
Dr. Shrikant Ganvir for important
suggestions.
Foot Note :
1 Campbell (1885: 208-09) dates these Sati
stones to be coeval with the Ganesha
shrine. However his opinion cannot be
taken as valid in the light of other evidences
and further researches on the dating of the
memorial stones.
2 Patches of plaster can be seen over
memorials 6, 7A and 7B covering them.
Remains of paintings of the Peshwa period
are also visible in the cave above the
Commemorating the Sacrifice : The Memorial Gallery at Ganesh Lane, Junnar
doorjamb and on the right wall of the shrine.
Documentation of these paintings was
done by James Campbell (1885).
References
Campbell, James M. (Ed.). 1885. Gazetteers of
the Bombay Presidency, Poona. Pp. 208-
09. Bombay: Government Central Press.
Cousens, Henry 1998 (reprint), Mediaeval
Temples of the Dakhan. New Delhi: Director
General Archaeological Survey of India.
Khare, G.H. 1982. Memorial Stones in
Maharashtra, in Memorial Stones (S. Settar
and G. Sontheimer eds.), pp. 251-254.
Dharwad: Karnatak University.
75
Mate, M.S. 1982. Hero-stones: The ‘Folk’ and
the ‘Classic’, in Memorial Stones (S. Settar
and G. Sontheimer eds.), pp. 79-82.
Dharwad: Karnatak University.
Settar, S.and Gunther D. Sontheimer (Eds.) 1982.
Memorial Stones. Dharwad: Karnatak
University.
Settar, S. 1982. Memorial Stones in South India,
in Memorial Stones (S. Settar and G.
Sontheimer eds.), pp. 183-197. Dharwad:
Karnatak University.
Sontheimer, Gunther D. 1982. Hero and Sati-
stones of Maharashtra, in Memorial
Stones (S. Settar and G. Sontheimer eds.),
pp. 261-281. Dharwad: Karnatak University.
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