yazdani, g. - ajanta. part iv [caves xvii-xxvii] (96p).pdf
TRANSCRIPT
A J A N T ATHE COLOUR & MONOCHROME REPRODUCTIONS
OF THE AJANTA FRESCOES BASED ON
PHOTOGRAPHY
W ITH AN EX PLA N A TO R Y T E X T
By G. YAZDANI, M.A., L i t t .D ., O.B.E.EX-DIRECTOR OF ARCHAEOLOGY, HYDERABAD STATE
AND AN APPENDIX ON THE INSCRIPTIONS BY
N. P. CHAKRAVARTI, M.A., Ph.D.ADVISOR ON ARCHAEOLOGY TO TH E GOVERNMENT OF INDIA
AND
B. CH. CHHABRA, M.A., M.O.L., Ph.D.GOVERNMENT EPIGRAPHIST FOR INDIA
P A R T IVCOMPRISING 17 COLOUR AND 65 M ONOCHROM E PLATES
OF CAVES XVII— XXVII
TO)
PU B LISH E D U N D E R T H E A U T H O R IT Y
OF T H E H Y D E R A B A D G O V E R N M E N T
BY GEOFFREY CUM BERLEGE
OXFORD U N I V E R S IT Y PRESSLONDON NEW YORK. B O M B AY
*955
O X F O R DU N I V E R S I T Y
P R E S SL O N D O N
GEOFFREY CUMBERLEGE
PRINTED IN GREAT BRITAIN
COLOU R PLATES BY MESSRS. H E N R Y STONE & SON, BANBURY T E X T AND COLLOTYPES BY CH ARLES B ATEY A T TH E
U NIVERSITY PRESS, OX FO RD
LI ST OF P L A T E SSE R IA L NO. SU B JE C T PLACE
COLOUR OR M ONOCHROM E
R E F E R E N C E TO C O P IE S P U B L ISH E D
I K EY T O TH E POSITIONS OF FRESCOES
Cave XVII — —
II *. INTERIOR, VIEW FROM TH E SOUTH-EASTb. A COLUM N OF TH E H ALLc. AN OTH ER COLUM N WITH TH E FIGURE OF A CHAURl- BEARER PAINTED TH EREON
Do.
Do.Do. Monochrome
Griffiths, i+5 (vi); Herring ham ̂ IX (n)
III *. TH E DOOR OF TH E SHRINE b. TH E FIGURE OF TH E BUDDH A W ITH ATTEN D A N TS; INSIDE T H E SHRINE
Do.Do.
Do.
IV *. TH E BODH ISATTVA A VA- LO KITESVAR A W ITH TH E BUDDHIST LITA N Yb. A YAKSHA W ITH A FEM ALE A T TE N D A N Tc. TH E RO YAL H U N T SCENE, AND T H E W H EEL OF SAM SARA (?)
Outer wall of the veranda, near the left pilasterLeft wall of the veranda
Do.
Do. Griffiths, 57
V TH E W HEEL OF SAMSARA (?) Do. Do. Ibid., 56
VI T H E SAME, CO N TIN U ATIONb. T H E SAME, FU R TH ER CONTIN U ATIO N TOW ARDS TH E RIGH T
Do.
Do. Do. Ibid.
VII TH E HAND OF A G IAN T FIGURE HOLDING T H E W H EEL; TH E W HEEL OF SAMSARA (?)
Left wall, veranda
b. TH E M OTH ER AND CHILD BEFORE TH E BUDDHA
Side wall of the second window on the right
Do. Ibid.
c. A YOUNG H ERM IT (BODHISATTVA ?) W ITH A LAD Y ON TH E RIGH T, FIGURE OF TH E BUDDHA IN TH E OVAL
Opposite the above subject
VIII a. TH E BUDDHA PREACHING TO TH E CONGREGATIONb. TH E SAME, CONTINUATION
Right wall, veranda
Do.Do.
TOW ARDS TH E RIGH T
S
L I S T OF P L A T E S
SERIAL NO. SU BJE CTCOLOUR OR
PLACE MONOCHROME
IX
X
*. SOME PANELS W ITH FLO R A L Ceiling of the veranda DESIGNSb. F LO R A L DESIGNS AND Above a pillar, in O TH ER M OTIFS front of the doorway
TH E SH A D -D A N TA J A T A K A , Front corridor, left ofOR TH E STOR Y OF T H E SIX- the doorway TUSKED ELEPH AN T
Monochrome
Do.
XI *. T H E SAME, T H E RAN I FAINTS A T T H E SIGH T OF TH E TUSKSb. T H E M AH AKAPI JA T A K A , TH E SACRED M O N K EY PREACH ING TO T H E RAJA AND HIS A T TE N D A N T S
XII a-b. T H E SH A D -D A N TA JA T A K A , FOREST SCENESc-e. T H E M AH AKAPI JA T A K A , SOME EPISODES OF T H E STORY
Do.
Right of the above subject
Do.
Front corridor, left of the doorway
Do.Outline in red (Litho)
XIII a. T H E SACRED M ON KEY H ELD IN A B L A N K E T ; TH E M AH AKAPI JA T A K Ab. T H E A R R IV A L OF TH E RAJA A T T H E BANK OF TH E STR E A M ; T H E SAME JA T A K A
XIV *. A P A R T Y OF M ERCH AN TS EATING T H E ROAST-BALLS OF T H E FLESH OF T H E BEN EVO LEN T E L E P H A N T ; TH E HASTI JA T A K Ab. A RAJA W ITH A T T E N D AN TS; T H E SAME JA T A K A (?)
XV A C O U R T SCENE, T H E BESTOW AL OF T H E R O Y A L SWORD (?)
XVI *. A C O U R T SCE N E; T H E JA T A K A NOT IDENTIFIED
b. AN O TH ER EPISODE OF TH E SAME STORY
XVII *. TH E HAMSA JA T A K A , OR TH E STORY OF T H E GOLDEN GOOSEb. TH E SAME JA T A K A , TH E FOW LER HAS CA U G H T TH E BIRD W ITH ITS M ATE
Do.
Do.Monochrome
Right of the above subject, near the end of the wall
Do.
Do.
Front corridor, left Colourwall, left of the cell-door
Front corridor, left wall, above the cell- door
Do.Monochrome
Front corridor, left wall, right of the cell- door
Do.Colour
REFER EN C E TO COPIESPU BLISHED
Griffiths, 63 ; Herringham,XXVII (29)
Ibid., XXVII (29)
Griffiths, 64; Herringham, VII (9) Colour and XXVI (28) Mono.
Griffiths, 64; Herringham, XXV (27) and XLI (54)
6
L I S T OF P L A T E SSERIAL NO. SUBJECT
XVIII a. APSARASAS(?) W ITH MUSIC A L INSTRUMENTS
b. TH E BUDDHA IN TH E TEACH ING A TTITU D E
PLACE
On the pilaster between the front and left corridors
Do.
LULUUK UKMONOCHROME
Monochrome
XIX a. TH E VlSVA N TA RA JATAKA; A PALACE SCENE
b. TH E SAME, CONTINUATIONc. ANOTH ER SCENE REPRESENTING TH REE MAIDS
On the wall of the left corridor, left of the first cell-door
Do.Do.
Do.
XX a. A PRINCESS, TH E SAME JA T A K Ab. JUJAKA RECEIVING TH E RANSOM MONEY, T H E SAME JA T A K A
On the wall of the left corridor
Do. Colour
XXI a. A PALACE SCENE, TH E SAME JA T A K Ab. AN O TH ER SCENEc. AN O TH ER SCENEd. ANOTH ER SCENE
Do.
Do.Do.Do.
Red oudine (Litho)
XXII a. A PALACE SCENE, TH E SAME JA T A K Ab. A CO U R T SCENE OF TH E SAME STORY
Above the first cell-] door, left corridor
Do. I► Monochrome
XXIII VlSVA N TA R A W ITH HIS W IFE DRIVING IN A FOUR-HORSE CH ARIOT
Between the second and third cell-doors, left corridor
Colour
XXIV TH E BRAHM AN PRAYING FOR A G IFT FROM V lSVA N TA R A AND M A D R l
Between the second and third cell-doors
Monochrome
XXV TH E SAME SUBJECT W ITH OTH ER SCENES
Do. Colour
XXVI TH E LAST EPISODE, TH E PAYM ENT OF RANSOM AND TH E RESTORATION OF TH E CH ILDREN
Between the third and fourth cell-doors
Do.
XXVII a. A YAKSHA AND
b. APSARASAS
c. A B ATTLE SCENE, T H E JAT A K A NOT IDENTIFIED
On the pilaster between die left and back corridors Top of the same pilasterLeft wall, back corridor
Monochrome
R E F E R E N C E TO COPIESPUBLISH ED
Herring ham, I (i)
Griffiths, 65; Herring ham, I (1) and XXIII (25)
Ibid., XX XV (39) and XXXVIII (46)
Ibid., XX IV (26) and XXXVII (42)
Ibid., XXXIX (48)
Ibid., XXIII (25)
Ibid., XXXVIII (46)?
7
L I S T OF P L A T E S
SERIAL NO. SUBJECT PLACECOLOUR OR
MONOCHROME
XXVIII T H E SAME SUBJECT, CO N TIN U A TIO N TOW ARDS T H E RIGH T
Left wall, back corridor
Monochrome
XXIX *. T H E STO R Y OF T H E BEN EVO LEN T M ONKEY, T H E M AH AKAPI JA T A K A II.
Left wall, back corridor, left of the cell- door
Do.b. A PRIN CE RIDIN G ON A HORSE, TH E SUTASOMA JA T A K A (?)
Right of the cell- door
XXX T H E M ARCH OF A N A R M Y, T H E SUTASOMA JA T A K A (?)
Back wall, left o f the first cell-door, back corridor
Do.
XXXI *. A RIVERIN E SCENE, T H E SUTASOMA JA T A K A (?)
Back wall, left of the cell-door
b. T H E M ARCH O F A N A R M Y, D E T A IL OF PL. XXX, LOW ER PA R T
Do. Do.
XXXII *. T H E A R R IV A L OF A PRIN CE A T AN H ERM ITAG E, T H E SUTASOMA JA T A K A b. T H E SAME, C O N TIN U A TION
Back wall, above the first cell-door
Do.
Do.
XXXIII *. T H E LIONESS LICKING T H E FEE T O F T H E RAJA, T H E SUTASOM A JA T A K A b. A M AN T O BE SLAU GH
Between the first and second cell-doors
Right of the aboveDo.
T E R E D FOR T H E CANN IBAL PRIN CE SAUDASA, AND TW O O TH ER EPISODES OF T H E STORY
scene
XXXIV A PA LA CE SCENE, AN ENLA R G E M E N T OF T H E SUBJECT IN T H E UPPERM OST PA N EL O F PL. XXXIII b-, T H E SUTASOM A JA T A K A
Do. Do.
XXXV *. T H E LIONESS PROCEEDING T O T H E R A JA ’S PALACE TH RO U G H A B A Z A A R ; T H E
Between the first and second cell-doors, upper part of the wall,
SUTASOM A JA T A K A b. T H E LIONESS IN FR O N T OF T H E RA JA ; T H E SAME JA T A K A
back corridor Right of X X XV *
Do.
XXXVI *. T H E R O Y A L K ITCH EN , P A N TR Y , AN D T H E DINING ROOM, T H E SUTASOM A JA T A K Ab. T H E ABHISHEKA SCENE, T H E SAME JA T A K A
Above the second cell-door, back corridor
Below XXXVI *
Do.
R EF ER EN C E TO COPIESPUBLISHED
Griffiths, 66
Ibid.
Fergusson & Burgess (Cave Temples of India), Fig. 60— copied from Mrs. Spiels Life in Ancient India
8
L I S T OF P L A T E SSERIAL NO. SUBJE CT
COLOUR ORPLACE MONOCHROME
XXXVII a. TH E PRINCE SAUDASA PRACTISING TH E TH ROW OF JA V E L IN ; TH E SUTASOMA JA TA K Ab. TH E PRINCE SAUDASA BRANDISHING HIS SWORD AGAINST TH E A R M Y WHO HAS A T TA C K E D HIM
XXXVIII TH E BUDDHA PREACHING IN TH E TU SH ITA HEAVEN, AND TW O O TH ER SCENES
XXXIX TH E SAME
Left of the antechamber, back corridor
Monochrome
Do.
Left wall of the ante- Do.chamber
Do. Colour
X L *. A GROUP OF LADIES, TH E BUDDHA PREACHING IN TH E TU SH ITA HEAVEN b. TH E M OTH ER AND CHILD BEFORE TH E BUDDHA
Do.
Back wall, left of the shrine-door
Monochrome
XLI TH E SAME Do. Colour
XLII TH E BUDDHA IN D IFFEREN T ATTITU D ES {MUDRAS)
Right wall of the ante-chamber
XLIII *. AN ELEPH ANT-RID ER b. TH E GROUP OF MONKS
Do.Do.
XLIV a, A PALACE SCENE, NOT IDENTIFIED
b. CONTINUATION OF TH E SAME
X L V *. A PALACE SCENE, NOT IDENTIFIED
b. A RAJA GOING OUT WITH HIS RETINUE FOR A H UNT, TH E SARABHA JATAKA
X L VI TH E BENEVOLENT STAG SAVES TH E LIFE OF TH E RAJA, TH E SAME JATAKA
XLVII TH E STORY OF A D U TIFU L ELEPHANT WHO HAD BLIND PA R E N T S: TH E M ATRIPO-SHAKA JA TA K A
XLVIII a. A PALACE SCENE, TH E SAME JA TA K Ab. FEEDING TH E D U TIFU L ELEPH ANT, TH E SAME JA T A K A
Back wall, back corridor, right of the ante-chamber
Do.
Back wall, back corridor, right of the ante-chamber Right of XLV a
Right of X LV b
Between the first and second cell-doors,right of the antechamber
Do.
Do.
Monochrome
Colour
Monochrome
Do.
Do.
Colour
Monochrome
R EF E R E N C E TO COPIESPU BLISHED
Griffiths, 54, Herringham, XX (24)
Idem
Herringham, VI (7);Sister Niveditta (Footfalls of Indian History), Plate facing p. 132; Mukul Dey (My Pilgrimage to Ajanta) Frontispiece
Ibid.
Griffiths, Fig. 20; Herring ham̂ XX (22) and XXI (23)
Ibid., XX (22) and XXI (23)
9
L I S T OF P L A T E S
SERIAL NO. SU B JE C TCOLOUR OR
PLACE MONOCHROME
XLIX TH E M ATSYA JA T A K A , OR Upper part of theT H E STO R Y O F T H E FISH back wall, near itsW HICH SAVED T H E PEOPLE end, right o f theFROM A D RO U G H T second cell-doorb . TH E SYAM A JA T A K A , OR T H E STORY OF A YOUNG H E R M IT (BODHISATT V A ) WHO HAD BLIND PARENTS
Do.
L a. T H E M ATSYA JA T A K A Back corridorb. T H E H ERD OF D EER, TH E M RIGA JA T A K A
Front corridor
c. AN O TH E R SCENE, T H E SAME JA T A K A
Do.
d. A C O U R T SCENE, T H E SIM HALA A V A D A N A
Right corridor
LI *. T H E MAHISHA JA T A K A , Back corridor, rightOR T H E STORY O F T H E BEN E VO LEN T BU FFALO AND T H E MISCHIEVOUS M ONKEY
wall
b. T H E OGRESSES COM ING On pilaster, betweenO U T FROM T H E R O Y A L the right and backCH AM BER, T H E SIM H ALA A VA D A N A
corridors
c. A Y A K S H A y OR A R O Y A L G U AR D
On the same pilaster
LII T H E R O Y A L BEDROOM Right corridor, leftINFESTED BY OGRESSES end, upper part of
die wallb. VU LTU R E S H OVERING O VER T H E R O Y A L BEDROOM, T H E SIM H ALA A V A -d A n a
Do.
LIII T H E R O Y A L BEDROOM , T H E SAME STO R Y
Do.
LIV *. A C O U R T SCENE Right corridor, above the first and second
b. AN O TH ER SCENE; T H E CO N TIN U ATIO N OF T H E SAME STORY
cell-doors
LV TH E M ARCH O F TH E R O Y A L Right corridor, beA R M Y ; TH E SIM H ALA A V A tween die second andD ANA third cell-doors
LVI *. T H E M IRACULOUS HORSE Upper part o f dieWHICH SAVED TH E LIFE OF wall, over the secondSIM H ALA; T H E SAME STORY and third cell-doorsb. A C O U R T SCENE, T H E A R R IV A L OF T H E OGRESS W ITH T H E CH ILD
Do.
Monochrome
Red outline (Litho)
Monochrome
Do.
Colour
Monochrome
Colour
Monochrome
R E F E R E N C E TO COPIESPUBLISHED
Her ring ham, VI (8)
Griffithsy 88; Her ring ham,X U (55)
Griffiths, 67
Idem
Idem, 68 and 78
Idem, 69-73
Idem, 69, 76, and 77
IO
L I S T OF P L A T E S
SERIAL NO. SUBJECT PLACECOLOUR OR
MONOCHROME
LVII TH E M ARCH OF TH E ARM Y, TH E SIM HALA AVAD AN A
Between the second and third cell-doors, right corridor
Colour
LVIII TH E RO YAL GUARDS SALUTING TH E MIRACULOUS HORSE, AND TH E ABHI- SHEKA SCENEb. TH E M ARCH OF TH E RO YAL A R M Y ; TH E SIMHALA AVA D A N A
Below LVI a
Between the second and third cell-doors, right corridor
Monochrome
LIX *. TH E A R M Y CROSSING TH E SEA IN BOATSb. T H E B ATTLE OF SIM HALA’S A R M Y W ITH OGRESSES
Do.
Do.Do.
LX SIM H ALA’S A RM Y, TH E BATTLE-SCENE
b. T H E A R M Y OF OGRESSES; CONTINU ATION OF TH E BATTLE-SCENE
Right corridor, between the second and third cell-doors
Do.► Do.
LXI T H E ISLAND OF OGRESSES; T H E SIM HALA A VAD AN A
Right corridor, above the door of the fourth cell
Colour
LXII SIM HALA AND HIS COM PANIONS ENJOYING THEMSELVES ON TH E ISLAND OF OGRESSES
Do. Do.
LXIII TH E SHIP-W RECK, TH E SIM HALA A VA D A N A b. T H E ESCAPE OF SIMHALA, AN OTH ER EPISODE
Between the third and fourth cell-doors
Do.Monochrome
LXIV T H E ISLAND OF OGRESSES; T H E SIM HALA A VA D A N A
b. A T O IL E T SCENE
Near the fourth cell- door, upper part of the wallOn the pilaster between the front and right corridors
Colour
LX V T H E A R R IV A L OF SIMH ALA, TH E RAN I MOURNING IN FRO N T OF T H E EM PTY TH RON Eb. A YOUNG LA D Y (OGRESS?)
r. A RAJA W ITH TW O A T TEN D A N TS; TH E SlBI JA- T A K A (?)
Right corridor, between the first and second cell-doors
Near the fourth cell- doorBelow the toilet scene, on the pilaster between the front and right corridors
Monochrome
Griffiths, 70—3
R E F E R E N C E TO COPIESP U BLISH ED
Ibid., 71, 75, and 78, also Text-fig. 10 (p. 9);Herringham, XVII (19) and XXXVII (43)
Griffiths, 71-74, also Text- fig. 17 (p- 11 )i Herring - ham, XVII (19) and XXXVII (43); Fergusson & Burgess, Fig. 61 (Cave Temples of India)
Griffiths, 70-74, also Text- fig. 17 (p. 11); Herring - ham, XVII (19) and XXXVII (43)
Griffiths, 55; Herringham, V (6)
Ibid., XXXVII (44)
L I S T OF P L A T E S
SERIAL NO. SU BJE CTCOLOUR OR
PLACE MONOCHROME
LX VI IN D R A AN D A N O TH E R GOD ON LOTUS-TH RONES b. A PA LA C E SCENE, T H E SlBIjA t a k a
r. T H E AGONY OF T H E RAJA A F T E R PULLING O U T HIS EYES W HICH W ERE GIVEN T O TH E BRAH M AN AS A G IF T d. T H E M ARCH OF AN A R M Y AND A M ONASTERY SCENE
LXVII T H E M ARCH OF AN A R M Y , T H E JA T A K A NO T ID E N TIFIEDb. A M ONASTERY SCENE, T H E JA T A K A NOT ID ENTIFIED
LXVTII *. A C O U R T SCENE, T H E M RIGA JA T A K A (?)
b. T H E RAJA RE TU R N IN G W ITH T H E M RIG A (DEER), TH E SAME STORY r. TH E H U N T E R WHO A T T E M PT E D T O C A TC H TH E SACRED DEER H AD HIS HANDS M IRACU LOU SLY C U T O FF
LXIX «. T H E STO R Y O F A BENEVOLE N T BEAR, T H E JA T A K A N O T IDENTIFIED
b. TH E BEN EVOLEN T BEAR SAVES T H E LIFE OF A STAG FROM T H E H U N TER WHOM T H E BEAR HUGS BETW EEN HIS FORE-LEGS, TH E SAME STORYc. A FOREST SCENE, T H EjA t a k a n o t i d e n t i f i e d
LXX a. T H E M RIGA JA T A K A : T H E KITCH EN AND O TH ER EPISODESb. A N O TH E R EPISODE OF T H E SAME STORY
LXXI *. A D ECO R A TIVE PAN ELb. TW O DW ARFS W ITH MUSIC A L INSTRUM ENTS (?)c. LION AS A D ECO R ATIVE M OTIFd. T H R E E PEA-FOW LS, A D ECO R A TIVE DESIGN
Front corridor, right 1 wall
Do.
Do.
Do. |
Right wall, upper part, left of the cell- doorRight of the cell- door
Front corridor, near the end of wall, towards the right
Do.
Do.
Front corridor, between the two windows, right of the door
Do.
Do.
Between the door and the first window' towards the right
Do.
The ceiling o f the hall On a pillar of the ante-chamber The ceiling of the left corridorThe ceiling of the front corridor
Monochrome
Do.
Do.
Do.
Do.
Do.
r e f e r e n c e t o c o p i e sPUBLISHED
Griffiths, 80 and 82; Hcr- ring ham, IV (5), XVI (18), and XXXIX (4.7)
Griffiths, 80-81
Ibid., 83; Herringham, VIII (10)
Griffiths, Text-fig. 28 (p.
*3)
Ibid., 84.—68
Ibid., r43 (Vol. II)
12
LI ST OF P L A T E S
LXXII a~e. THE DECORATIVE BANDr e p r e s e n t i n g ANIM AL-M OTIFS
LXXIII a-d. CONTINUATION OF THE ABOVE
LXXIV *. DECORATIVE DESIGNS R EPRESENTING .ANIMAL-FIGURES b. DECORATIVE DESIGNS
SERIAL NO. SU BJECT
LXXV *. TH E FACADE b.. TH E INTERIOR
LX XVI a. TH E BUDDIiA WITH NAG AS AND GANASVJHQ ARE BRINGING OFFERINGS TO HIM, SCULPTUREb. A NAGA RAJA WITH HIS CONSORT, SCULPTURE
LXXVII *. TH E DOORb. THE BUDDHA PREACHING TO THE CONGREGATION
LXXVin *. THE DOOR W ITH NAGAd v A r a p A l a sb. TH E DOOR W ITH INCISED SQUARE PATTERN S OF GAN- D H ARA DESIGN
LXXIX *. TH E FRO N T OF TH E CH AITYA W ITH TH E PLINTH AND STEPS EXPOSED TO VIEW; AFTER EXCAVATION b. TH E H A LL OF TH E SAME
LXXX T H E DEATH-SCENE OF TH E BUDDHA, SCULPTURE
LXXXI *. T H E TEM PTA TIO N OF TH E BUDDHA, SCULPTURE b. TH E SCU LPTU RE R EPR ESENTING A YAKSHINl WITH A BIRD PERCH ED ON H ER HAND, AND A NAGA R A jA AS DVARAPALA; AFTER EXCAVATION
LXXXII T H E FIGURES OF NAGAS, YAKSHINIS AND G A N AS C ARVED ON T H E DOORFR A M E ; A F T E R EXCAVATION
PLACECOLOUR OR
MONOCHROME
The ceiling of the Red oudine hall (Litho)
Do. Do.
Do.
The ceiling of the front corridor, Cave XXI
Cave XIXDo.
The facade, right of the doorway
In a niche, left wall, exterior of die cave
Cave XXIAbove the third cell- door, left corridor, the same cave
Cave XXIII
Cave XXIV
Cave XXVI
Do.
Left aisle, Cave XXVI
Colour
Monochrome
Do.
Do.
Do.
Do.
Do.
Left aisle, Cave XXVI Cave XXVII
Cave XXVII (?)
Do.
Do.
13
R E F E R E N C E TO COPIESP U BLISH ED
Burgess, XXX (Buddhist Cave Temples)
Fergusson & Burgess, XXXIX (Cave Temples of India); ('.oomarasivamy, 72 (Vi^vakarma Examples)
Burgess, XX XV (Buddhist Cave Temples)
Ibid., I ll
Fergusson & Burgess, L (Cave Temples of India)
Ibid., LI
(a) THE INTERIOR OF CAVE XV II: VIEW FROM SOUTH-EAST
(6) A COLUMN OF THE HALL: THE SAME CAVE
(c) ANOTHER COLUMN WITH THE FIGURE OF A CHA URl-BEARER
(a) THE BODHISATTVA AVALOKITESVARA WITH THE BUDDHIST LITANY: CAVE XVII
(b) A YAKSHA WITH A FEMALE ATTENDANT: THE SAME CAVE
vn
(<i) THE WHEEL OF SAMSARA: THE HAND OF THE GIANT HOLDING THE WHEEL; CAVE XVII
(6) THE MOTHER AND CHILD BEFORE THE BUDDHA: THE VERANDA OF
THE SAME CAVE
tO A YOUNG IlEKMI I (BODIIISATTVA) WITH A LADY ATTENDANT: FIGURE OF THE BUDDHA
IN THE OVAL: THE SAME CAVE
BW
MH
VIII
(«) THE BUDDHA PREACHING TO THE CONGREGATION: CAVE XVII
(6) THE SAME. CONTINUATION TOWARDS THE RIGHT
i x
(<i) SOME PANELS WITH FLORAL DESIGNS: CEILING OF THE VERANDA: CAVE XVII
(b) FLORAL DESIGNS AND OTHER MOTIFS: THE SAME CAVE
XI
la) TIIE RANI FAINTS AT THE SIGHT OF THE TUSKS: THE SHAD-DANTA JATAKAr FRONT CORRIDOR: CAVE XVII
(ft) THE SACRED MONKEY PREACHING TO TIIE RAJA AND IIIS ATTENDANTS: THE MAHAKAPI J AT AKA: THE SAME CORRIDOR
XII
(a) TH E RANI FAINTS AT THE SIGHT OF TH E TUSKS: TH E SHAD-DANTA JATAKA: CAVE XVII
(b) A FOREST SCENE: TH E SAME JATAKA
(J) THE ARRIVAL OF TH E RAJA TO PUNISH TH E MONKEYS: THE SAME JATAKA
(a) A PARTY OF MERCHANTS EATING THE ROAST-BALLS OF THE FLESH OF THE BENEVOLENT ELEPHANT: T1IE HASTl j AT AKA: CAVE XVII
XVI
(a) A COURT SCENE: THE JATAKA NOT IDENTIFIED: LEFT WALL: FRONT CORRIDOR:CAVE XVII
(A) ANOTHER EPISODE OF THE SAME JATAKA (?)
t l.v aisa JA I AKA OR THE STORY 01 FRONT CORRIDOR:
I HE GOLDEN GOOSE: LEFT WALI CAVE XVII (b) THE FOWLER HAS CAUGHT THE GOLDEN GOOSE
WITH ITS MATE (?): ON THE PILASTER BETWEEN THE FRONT AND LEFT CORRIDORS
(a) A PALACE SCENE: THE VISVANTARA J AT AKA: LEFT CORRIDOR: CAVE XVII
(6) THE CONTINUATION OF THE SAME (c) ANOTHER SCENE REPRESENTING THREE MAIDS; THE SAME STORY
XIX
X X II
(a) A PALACE SCENE: THE VISVANTARA JATAKA: LEFT CORRIDOR: CAVE XVII
(b) A COURT SCENE: THE SAME JATAKA
XXVI
THE LAST EPISODE OF THE VlSVANTARA JATAKA: THE PAYMENT OF RANSOM AND THE RESTORATION OF THE CHILDREN: CAVE XVII
THE BRAHMAN PRAYING FOR A GIF! FROM VISVANTARA AND MAORI WITH OTHER EPISODES: LEFT CORRIDOR: CAVE XVII
XXVII
(a) A YAKS HA AND YAKS HINT: ON THE PILASTER BETWEEN THE LEtT AND
BACK CORRIDORS: CAVE XVII
(6) A PS A RASAS (?): ON THE SAME PILASTER
(e) A BATTLE SCENE- THE JATAKA NOT ID EN TIFIED : BACK CORRIDOR: CAVE XVII
w f W 1■ aw Shi
• • ' " V , '1 i ^
‘ . m.wf t
(a) THE STORY OF A BENEVOLENT MONKEY: THE MAHAKAPI JATAKA II: LEFT WALL: v ' BACK CORRIDOR: CAVE XVII
(6) A PRINCE RIDING ON A HORSE: THE SUTASOMA JATAKA (?): ON THE SAME WALL
XX
IX
XXXV II
(6) THE PRINCE SAUDASA BRANDISHING HIS SWORD AGAINST THE ARMY WHICH HAS ATTACKEDHIM: THE SAME JATAKA
xxxvi
la) THE ROYAL KITCHEN WITH PANTRY AND DINING-ROOM: TIIE SUTASOMA JATAKA: BACK WALL: CAVE XVII
(6) THE A B U I S H E K A SCENE: THE SAME JATAKA
->L
* ■
X X X V
(a) THE LIONESS PROCEEDING TO THE RAJA’S PALACE THROUGH A BAZAAR: THE SUTASOMAJATAKA: CAVE XVII
(6) THE LIONESS IN FRONT OF THE RAJA: THE SAME JATAKA
XXXI
{a) A RIVERINE SCENE: THE SUTASOMA JATAKA (>): BACK WALL: CAVE XVII
(b\ THE MARCH OF AN ARMY: THE LOWER PART OF (a)
(a) A PALACE SCENE: THE JATAKA NOT ID EN TIFIED : BACK CORRIDOR: RIGHT OF THE ANTE-CHAMBER: CAVE XVII
XLV
(a) A PALACE SCENE: THE JATAKA NOT ID EN TIFIED : BACK CORRIDOR: CAVE XVII
(b) A RAJA GOING OUT WITH HIS RETINUE FOR A HUNT: THE SARABHA TATAKA:D ATT7 r A T 3 T > m A r ) . v i m u
THE STORY OF A DUTIFUL ELEPHANT WHO HAD BLIND PARENTS: THE MATRIPOSHAKA JATAKABACK CORRIDOR CAVE XVII
xi.vn
XLVIII
(a) A PALACE SCENE: THE MATRIPOSHAKA JATAKA: CAVE XVII
(b) FEEDING THE DUTIFUL ELEPHANT: THE SAME JATAKA
(a) THE STORY OF A FISH WHICH SAVED THE PEOPLE FROM A DROUGHT: THE MATSYA JATAKA: BACK WALL: CAVE XVII
(6) THE STORY OF A YOUNG HERMIT WHO HAD BLIND PARENTS: THE SYAMA JATAKA: ON THE SAME WALL
X
X
(a) THE STORY OF A BENEVOLENT BUFFALO AND THE MISCHIEVOUS MONKEY: THE MAHISHA JATAKA: BACK
CORRIDOR: RIGHT WALL: CAVE XVII
(6) THE OGRESSES COMING OUT FROM THE ROYAL CHAMBER: THE SIMHALA AVADANA: RIGHT
CORRIDOR
(c) A YAKSHA OR A ROYAL GUARD: ON THE PILASTER BETWEEN THE RIGHT AND
BACK CORRIDORS
(a) A COURT SCENE: THE SIMM ALA AVADANA: RIGHT CORRIDOR: CAVE XVII (6) ANOTHER SCENE: CONTINUATION OF THE SAME STORY
LTV
LVI
(a) THE MIRACULOUS HORSE WHICH SAVED THE LIFE OF SIMHALA: RIGHT CORRIDOR: CAVE XVII
(b) A COURT SCENE: THE ARRIVAL OF THE OGRESS WITH THE CHILD AT THE COURT- RIGHT OF THE ABOVE SUBJECT
LVIH
(a) THE ROYAL GUARDS SALUTING TIIE MIRACULOUS HORSE AND THE ABIITSHEKA (LUSTRATION) OF S1MI1ALA: RIGHT CORRIDOR: CAVE XVII
(t>) THE MARCH OF THE ROYAL ARMY: THE SAME STORY
ux
(b) THE BATTLE OF SIM ULA'S ARMY WITH OGRESSES: THE SAME STORY
(a) THE ROYAL ARMY CROSSING THE SEA IN BOATS: THE SIMHALA AVADANA: RIGHT CORRIDOR: CAVE NVTI
{a) SIMHALA'S ARMY CROSSING THE SEA IN BOATS: CAVE XVII
(.PHOTOGRAPH OF THE RECONSTRUCTION OF THE PAINTING B Y SAYED AHMAD)
(b) CONTINUATION OF THE SAME STORY: THE ABHISHEKA AND THE BATTLE SCENES
X
Lxm
(fi) THE ESCAPE OF SXMHALA: ANOTHER EPISODE OF THE SAME STORY
(a) THE SHIPWRECK: THE SIMHALA AVADANA: RIGHT CORRIDOR: CAVE XVII
(i) THE ISLAND OF OGRESSES: THE SIMHALA AVADANA: RIGHT CORRIDOR: CAVE XVII (6) A TOILET SCENE: ON THE PILASTER BETWEEN THE FRONT AND RIGHT CORRIDORS
AIX
I
LXV
(a) THE ARRIVAL OF SIMHALA AND THE MOURNING OF THE RANI IN FRONT OF THE EMPTY THRONE: RIGHT CORRIDOR: CAVE XVII
(b) A YOUNG LADY (AN OGRESS?): THE SIMHALA AVADANA 1 ' VITH ATTENDANTS: TH
TBI JATARA (?): BELOW PLATE LXIV (4
(a) INDRA AND ANOTHER GOD ON (6) A PALACE SCENE: THE BRAHMAN ASKING (c) THE AGONY OF THE RAJA AFTER PULLING OUT HIS EYES:LOTUS-THRONES: THE SlBI THE RAJA FOR THE GIFT OF HIS EYES (?): CONTINUATION OF THE SAME STORY
JATAKA: CAVE XVII THE SAME WALL
(d) THE MARCH OF AN ARMY AND THE MONASTERY SCENE: THE JATAKA NOT ID EN TIFIED - UPPER PART OF THE SAME WALL
lxvh
(a) THE MARCH OF AN ARMY: THE JATAKA NOT ID E N T IF IE D : RIGHT WALL: FRONT CORRIDOR: CAVE XVII
(ft) A MONASTERY SCENE: THE JATAKA NOT ID E N TIF IE D : OiN THE SAME WALL
LX VIII
(a) A COURT SCENE: THE MRIGA JATAKA: FRONT CORRIDOR: CAVE XVII
(b) THE RAJA RETURNING WITH THE MRIGA: THE SAME JATAKA
(c) THE HUNTER WHO ATTEMPTED TO CATCH THE SACRED DEER HAD HIS HANDSurn„-ttTATTCTV I'HT r\TTi »vnTtn:t» Emcnnw m.- rrrr coir* itx™ *
(«) THE STORY OF THE BENEVOLENT BEAR: THE JATAKA NOT ID EN TIFIED : FRONT CORRIDOR: CAVE XVII
lb) THE BENEVOLENT BEAR SAVES A STAG FROM THE HUNTER: THE SAME STORY
(c) A FOREST SCENE WITH BIRDS AND DEER AND A STUPA : THE MRIGA TATAKA: FRONT CORRIDOR: CAVE XVII
LX
IX
LXX
(a) THE KITCHEN AND OTHER EPISODES: THE MRIGA JATAKA: FRONT CORRIDOR: CAVE XVII
(6) THE CONTINUATION OF THE SAME JATAKA- ANOTHER EPISODE
L X X I
(a) THE CEILING OF THE HALL: DECORATIVE DESIGNS: CAVE XVII
(b) TWO DWARFS WITH MUSICAL INSTRUMENTS: ON A COLUMN OF THE ANTE-CHAMBER: CAVE XVII
(c) LION AS A DECORATIVE MOTIF: CEILING OF THE LEFT CORRIDOR:
THE SAME CAVE
(d) THREE PEA-FOWLS: A DECORATIVE DESIGN- THE CEILING OF THE FRONT CORRIDOR: THE SAME CAVE
LX>
(a) DECORATIVE DESIGNS REPRESENTING ANIMAL FIGURES: THE CEILING OF THE HALL: CAVE XVII
{b) DECORATIVE DESIGNS: THE CEILING OF THE FRONT CORRIDOR: CAVE XXI
Lxxxn
THE FIGURES OF NAGAS, YAKSHINlS, AND GAN AS CARVED ON THE DOOR-FRAME AND WINDOW: CAVE XXVII (?)
(AFTER EXCAVATION)