Indian Architecture (Buddhist and Hindu Periods) c22.28

c22.28

The condition of the interior proves conclusively that it was the practice in rock-architecture to carry the completion of the work from above downwards, for while the upper story is entirely finished, parts of the ground floor are only blocked out It was evidently the intention in the planning of the lower story to supplement the central hall by means of a range of cells, but these have been begun and left in the rough. This central hall, which is approached through a deep pillared verandah, is a square of approximately forty feet side, while beyond is a vestibule, also pillared, leading to the cella containing an image of the saint Mahavira seated on a lion throne All the pillars have plain square shafts, with simple flat brackets as capitals but in some instances the bases are richly moulded. It is not improbable that these plain shafts would have been carved into ornamental pillars had some untoward circumstances not intervened and prevented their completion. The upper story, which is reached by a staircase on the right of the lower verandah, consists of a cental hall with two additional sanctuaries thrown forward on each wing, the balconies of all three overlooking the open courtyard described above. The main hall in the centre has an elaborate pillared portico while the hall itself, a square of fifty feet side is surrounded by a colonnade of twelve pillars, with an altar in the middle on which originally stood a quadruple image (*chaumukha*); the ceiling immediately over this altar is coved and made to represent an immense lotus flower, with mortice holes at the corners and centre for pendent lamps. At the far end is a richly patterned doorway leading to a cella containing a figure of Mahavira. The two side sanctuaries are in most respects smaller copies of the large hall, with balcony and central chamber all pillared, and a cella with an image at the far end. No other temple at Ellora is so complete in its arrangements or so finished in its workmanship as this upper story of the Indra Sabha, all the large sunk panels between pilasters on every wall being filled with figure subjects, while the pillars, admirably spaced, and on occasion joined by dwarf walls, are moulded, fluted, and faceted, as in no other instance. Yet in spite of its advanced character there is a survival of certain wooden traditions, a curious reversion to the more primitive rock-cut type. Here and there are naive copies of timber expedients, literally translated, as for instance a wooden batten to hold the *asana* or seat-back of the balcony in its place, is exactly reproduced in the rock technique There are indications also that a considerable amount of woodwork was introduced to supplement the rock-work, as there are grooves for shutters to the verandahs, and a special arrangement of holes and sockets for the insertion of a wooden trap-door to enable the entrance to the upper floor to be impenetrably sealed. From such evidences it may be inferred that outside these groups of rock-cut religious retreats, the other buildings of the country were of wooden construction, and that the people as a whole were still living in the timber age