Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v3.c12.42

v3.c12.42

The remaining caves (VI and VII) of which the frescoes have been studied and illustrated in this Part are nearly a century later than Caves XVI and XVII, but Fergusson, and in his wake some modern writers also, have placed the architecture of the former two caves earlier than that of Caves XVI and XVII.³ This opinion does not seem to be correct, the reasons being that the plan of Cave VI both in its upper and lower stories, although conforming to the general plan of the fifth-century *vihāras* of Ajanta,⁴ has certain features which seem to be later developments, indicating more or less the vagaries of the architect's mind. For example, he has increased the number of pillars in the lower story with a view to giving adequate support to the rock-floor of the upper story. The architect has shown considerable ingenuity in the arrangement of these pillars by transforming the middle hall of the *vihāra* into three aisles, the central one of which leads to the shrine. But the presence of these pillars in the middle of the hall is somewhat obstructive, for the main idea in designing the hall was that the congregation should sit comfortably on its floor and be able to look freely at each other and also at the chief *Bhikshu* who addressed them on ceremonial occasions. The design of the arch carved over the door of the shrine again is capricious. It springs from the mouths of *makaras*, and is curvilinear (Plate Va).⁵ The larger numbers of the figures of the Buddha in the upper story of this cave is another feature indicating a later origin (end of the sixth century A.D.). In the corridors of the upper story, besides the cells there are chapels with pillars in front. Over the chapel at the left end of the front corridor there is a frieze representing figures of elephants in different postures, which show the close observation of the sculptor in studying the habits of the animal. The figures are very lively and indicate considerable movement. One of them is killing a tiger. There is another effigy of an elephant, carved on a bracket in the veranda (Plate Vb). In this sculpture the animal holds garlands round his trunk which he evidently is bringing as an offering to the Buddha. The striking feature of the carving is that the animal has been shown almost trotting, animated by feelings of joy at the sacred mission which he is performing.