A J A N T A COMPRISING COLOUR AND MONOCHROME PLATES FROM

CAVE XVII-XXVII

PART IV G. YAZDANIC

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 J A N T A

JOJAKA RECEIVING THE RANSOM MONEY

(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

{«) THE DOOR OF THE SHRINE: CAVE XVII

(a) THE BODHISATTVA AVALOKITESVARA WITH THE BUDDHIST LITANY: CAVE XVII

(b) A YAKSHA WITH A FEMALE ATTENDANT: THE SAME CAVE

V

THE WHEEL OF SAMSARA (?): CAVE XVII

{«) THE WHEEL OF SAMSARA: CONTINUATION OF PLATE V

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

X

THE SHAD-DANTA JATAKA: OR TIIE STORY OF THE SIX-TUSKED ELEPHANT: FRONT CORRIDOR: CAVE XVII

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) THE SACRED MONKEY HELD IN A BLANKET: THE MAHAKAPI JATAKA: CAVE XVII

(a) A PARTY OF MERCHANTS EATING THE ROAST-BALLS OF THE FLESH OF THE BENEVOLENT ELEPHANT: T1IE HASTl j AT AKA: CAVE XVII

XV

A COURT SCENE: THE BESTOWAL OF THE ROYAL SWORD {?): LEFT WALL: FRONT CORRIDOR-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

. w i l l

'« TWTC HIIDDHA IN THE TEACHING ATTITUDE: ON TIIE SAME PILASTER

(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

(a) A PRINCESS: THE VlSVANTARA JATAKA: CAVE XVII

(e) JOJAKA PRAYING FOR A GIFT: THE SAME W ANOTHER EPISODE: THE SAME JATAKAJATAKA

XX

I

X X II

(a) A PALACE SCENE: THE VISVANTARA JATAKA: LEFT CORRIDOR: CAVE XVII

(b) A COURT SCENE: THE SAME JATAKA

VISVANTARA WITH HIS WIFE DRIVING IN A FOUR-HORSE CHARIOT: LEFT WALL: CAVE XVII

THE BRAHMAN PRAYING FOR A GIFT FROM VlSVANTARA AND MADRl: LEFT CORRIDOR:CAVE XVII

XX

IV

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

A BATTLE SCENE: THE JATAKA NOT ID EN TIFIED : RIGHT OF XXVII («): CAVE XVII

XX

VIII

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

XXXVIII

THE BUDDHA PREACHING IN THE TUSHITA HEAVEN AND TWO OTHER SCENES: CAVE XVII

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

X X X IV

(*) THE LIONESS LICKING THE FEET OF THE RAJA: THE SUTASOMA JATAKA: BACK WALL: CAVE XVII

XXXII

(a) THE ARRIVAL OF A PRINCE AT AN HERMITAGE: TIIE SUTASOMA JATAKA:CAVE XVII

XXXI

{a) A RIVERINE SCENE: THE SUTASOMA JATAKA (>): BACK WALL: CAVE XVII

(b\ THE MARCH OF AN ARMY: THE LOWER PART OF (a)

NX XIX

THE BUDDHA PREACHING TO THE CONGREGATION: CAVE XVII

(a) A GROUP OF LADIES LISTENING TO THE SERMON OF THE BUDDHA: LEFT WALL: ANTE-CHAMBER: CAVE XVII

XLI

THF. MOTHER AND CHILD BEFORE THE BUDDHA: BACK WAIT.: ANTE-CHAMRFT?■ p a v t t y v t t

THE BUDDHA IN DIFFERENT ATTITUDES ( MUDRA): RIGHT WALL OF THE ANTE-CHAMBER-CAVE XVII

XL

II

(a) AN ELEPHANT RIDER: RIGHT WALL OF THE ANTE CHAMBER CAVE XVII

(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 BENEVOLENT STAG SAVES THE LIFE OF THE RATA: THE SARABHA JATAKA: BACK CORRIDOR: CAVE XVl'l

\I VI

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

LXX1I

THE DECORATIVE BANDS REPRESENTING ANIMAL MOTIFS: CEILING OF THE HALL:CAVE XVII

LXXII]

(0

M

THE DECORATIVE BANDS REPRESENTING ANIMAL MOTIFS: CEILING OF THE HALL:CAVE XVII

M A COURT SCENE: THE SIMHALA AVADANA: CAVE XVII

(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

LIII

THE ROYAL BEDROOM: THE SIMHALA AVADANA: RIGHT CORRIDOR: CAVE XVII

(a) THE ROYAL BEDROOM INFESTED WITH OGRESSES: THE SIMHALA AVADANA: RIGHT CORRIDOR:CAVE XVII

(a) A COURT SCENE: THE SIMM ALA AVADANA: RIGHT CORRIDOR: CAVE XVII (6) ANOTHER SCENE: CONTINUATION OF THE SAME STORY

LTV

LY

THE MARCH OF THE ROYAL ARMY: THE SIMHALA A V AD AN A: RIGHT CORRIDOR: CAVE XVII

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

ml - V I T

THE MARCH OF THE ARMY: THE SIM HAL A A V ADANA: RIGHT CORRIDOR: CAVE XVH

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

THE ISLAND OF OGRESSES: AN ENLARGEMENT OF THE MIDDLE PART OF PLATE LXI

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

LXXV

(a) THE FACADE: CAVE XIX

(6) THE INTERIOR: THE SAME CAVE

(a) THE BUDDHA WITH NAGAS AND GAN AS: FACADE: CAVE XIX

(b) THE BUDDHA PREACHING TO THE CONGREGATION: INTERIOR: LEFT CORRIDOR:THE SAME CAVE

(a) THE DOOR WITH NAGA DVARAPALAS: CAVE XXIII

{«) THE FRONT OF THE CHATTY A WITH THE PLINTH AND STEPS EXPOSED TO VIEW: CAVE XXVI

AFTER EXCAVATION

THE DEATH SCENE OF THE BUDDHA: LEFT CORRIDOR: CAVE XXVI

{a) THE TEMPTATION OF THE BUDDHA: LEFT CORRIDOR: CAVE XXVI

Lxxxn

THE FIGURES OF NAGAS, YAKSHINlS, AND GAN AS CARVED ON THE DOOR-FRAME AND WINDOW: CAVE XXVII (?)

(AFTER EXCAVATION)