Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v3.c13: A Note on the Painted Inscriptions in Caves VI–XVII

Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v3.c13

Language: English

v3.c13.s1 The Painted Inscriptions — 5 parts

A Note on the Painted Inscriptions in Caves VI–XVII

IN the subjoined note the painted inscriptions¹ in Caves VI–XVII at Ajanta have been included.² Such records are now found only in Caves VI, IX, X, XVI, and XVII. In the last-mentioned cave only the inscriptions in the veranda have been included in this Part. Many of these records in Caves IX, X, XVI, and XVII have already been read by Pandit Bhagwanlal Indraji and published by Burgess in *Archaeological Survey of Western India*, Memoir No. 10, *Inscriptions from the Cave-Temples of Western India with Descriptive Notes*, &c., 1881, pp. 82–7, and illustrated with plates. The inscriptions in Caves IX, X, and XVI were again published by Burgess (revised by Bühler) in the *Archaeological Survey of Western India*, Vol. IV (*Reports on the Buddhist Cave-Temples and their Inscriptions*, being part of the results of the fourth, fifth, and sixth season’s operations of the Archaeological Survey of Western India, 1876–7, 1877–8, 1878–9) issued in 1883 as supplementary to the volume on *The Cave-Temples of India*. The inscriptions have further decayed since Indraji deciphered them, and while a few have altogether disappeared, owing to the pillars on which they were originally found being broken and lost in some cases, or the plaster on the wall on which they were written having given way, a few new ones have come to light. All these details have been noticed in connexion with the study of each individual inscription, and only a brief synopsis of the contents of these records is given below.

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¹ Strictly speaking these should be called painted records and labels and not inscriptions, as the characters in these are not incised. I have, however, preferred to use the term ‘inscription’ in the loose sense of ‘writing’, as has been done by all the scholars who have dealt with these records previously.

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² Painted inscriptions in Cave II have been dealt with by Mr. John Allan in the Appendix of *Ajanta*, Text, Pt. II, pp. 57–64. I may, however, take this opportunity of pointing out that in No. 11 of Allan’s inscription the second line correctly reads *Budha(ddha-)sahasraṃ*, or ‘thousand Buddhas’. Apparently the Buddhist lay worshipper whose name is lost in the record wanted to donate the figures of one thousand Buddhas. Cave II at Ajanta reminds one of the ‘Cave of the Thousand Buddhas’ at Tun-Huang in Central Asia, and this also should be properly named the ‘Cave of the Thousand Buddhas’.

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Cave VI (Pl. I *a*). This cave contains only one votive inscription, recording the gift of the Śākya monk Taraṇakīrttana (?).

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Cave IX (Pls. I *b–c* and II *a–e*). Altogether twelve inscriptions have been noticed in this *chaitya* cave, including No. 10 below, which is now missing. All are votive inscriptions, eight of which are fragmentary and have not preserved the names of the donors. The donors of the remaining four are the Śākya monk Saṅghapriya (No. 11), the lay worshipper Jasadeva (Yaśodeva) (No. 2), the Śākya monk bhadanta Bhadrasena (No. 7), and bhadanta Dharmasena (No. 12).

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Cave X (Pls. III–VI). This is a *chaitya* cave which contains the largest number of painted inscriptions. Twenty-one such records have been noticed in this cave, including the four which cannot be traced at present. Of these inscriptions No. 1 (Pl. III) is the earliest, being almost contemporaneous with the inscription of Vāsiṭhīputa Kaṭahādi, a record of whose gift of the façade is found engraved on the façade of this cave. Of the remaining twenty, all of which are votive records, seven are fragmentary and twelve contain the names of the following donors: āchārya Sachiva (No. 2), Śākya monk bhadanta Saṃghagupta (No. 4), Śākya monk āchārya bhadanta Buddhasena (No. 5), bhadanta Buddhasoma (?) (No. 6), Śākya monk Buddha[so*]ma (No. 7), Śākya monk bhadanta Keśava (No. 8), Śākya monk Buddhināga (No. 9), Śākya monk bhadanta Drāḍhadharma (No. 11), Śākya monk bhadanta Droṇavarmman (No. 12), bhadanta Sudatta (Nos. 18-19), and bhadanta Śilabhadra (No. 21). It is not certain whether No. 14, which records the donation of a figure of Vipaśvin, the nineteenth of the twenty-four Buddhas, contains the name of the donor or of his office.

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Cave XVI (Pls. VII-VIII). There are altogether three donatory inscriptions in this cave, the donors being the Śākya monk bhadanta Dharmadatta (Nos. 1-2) and the Śākya monk bhadanta Bāpuka (No. 3).

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On the back wall of the veranda to the right of the entrance, where scenes from the Viśvantara Jātaka are painted, are found the names of the principal characters in the Jātaka story painted under the respective figures (Pl. VIII c-e). It may be mentioned in this connexion that the Pāli version calls the prince Vessantara and Āryaśūra Viśvantara, while the name Vaiśvantara is given to him in these frescoes.

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Cave XVII (Pl. IX). There are no votive inscriptions found in this cave, but there are a few labels illustrating the figure of the Yaksha Maṇibhadra and a scene from the Śibi Jātaka.

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In conclusion, I would like to say a few words on the age of the caves themselves and that of the painted records found therein, as far as it can be judged from palaeographic evidence only. As regards the caves themselves, Fergusson and Burgess have classified them according to three distinct divisions. According to these scholars, whose opinion has gained acceptance, the chaitya Caves IX and X and the vihāras XII and XIII are the earliest and must have been excavated before the commencement of the Christian era. They place Cave XI at a date later than Cave X and Caves VI-VIII at an even later period, ranging in date from the fifth to the end of the sixth century A.D.¹ The palaeographical evidence, wherever any is available, also points to almost the same conclusion. The two earliest inscriptions in Brāhmī characters are found in Caves X and XII. The epigraph in Cave X is engraved on the left side of the façade and records the ‘gift of the façade by Vāsiṭhīputa Kaṭahādi’, and that in Cave XII is found on the back wall of Cave XII and records the ‘gift of a shrine (ṭhānaka) with inner chambers (uvavaraka, Pāli, ovaraka, Skt. apavaraka) and an abode (for monks) (upā[saya*], Pāli upassaya) by the merchant Ghanāmadaḍa’. Burgess and Fergusson are of opinion that of the two chaitya caves IX is earlier than X, and the two vihāras are perhaps again earlier than the two chaitya caves, as in the opinion of these scholars a vihāra, i.e. a residence for monks, should precede the construction of a chaitya.² While no palaeographic evidence is forthcoming in finding the relative antiquity of the two *chaitya* caves and the two *vihāras*, the inscription in Cave XII is decidedly of a later date than that of Cave X. Moreover, the inscription in Cave X records the gift only of the façade, which therefore presupposes the existence of the *chaitya*, while the record in Cave XII seems to indicate that the *vihāra*, as it stood at the time of the inscription, was the gift of the merchant Ghanāmadaḍa. It can therefore be stated with sufficient certainty that the *chaitya* Cave X is of an earlier date than Cave XII.

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¹ Regarding the date of Cave XI see Mr. Yazdani’s opinion expressed on p. 4.

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² Regarding the dates of Caves IX and X see Mr. Yazdani’s remarks on pp. 2-3. Both on palaeographic

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The other caves where inscriptions are found incised are Caves XVI, XVII, XX, XXVII, and XXVII. We know from a fragmentary inscription in Cave XVI that this cave was excavated by order of Varāhadeva, minister of the Vākāṭaka king Hariṣeṇa. Varāhadeva dedicated this cave dwelling, ‘adorned with windows, doors, rows of beautiful pictures, ledges, statues of celestial nymphs, and the like, and supported by beautiful pillars, and with a temple of Buddha inside’,¹ to the Buddhist Saṃgha in remembrance of his father Hastibhoja and his mother, whose name is not mentioned in the record. Varāhadeva was a devout Buddhist and was responsible also for the excavation of the Ghaṭotkacha cave eleven miles to the west of Ajanta, as is known from an inscription on the left end of the back wall of that cave. Both the records of Varāhadeva are undated, but, as Professor Mirashi has shown, Hariṣeṇa, the last known ruler of the Vatsagulma branch of the Vākāṭakas, should be assigned a period between A.D. 475-500,² and therefore the excavation of Cave XVI must have been completed about the end of the fifth century A.D., to which period Fergusson and Burgess also assign this cave from the style of architecture. There is also no doubt that Cave XVII must be placed in the same period, as a fragmentary inscription on the side wall of the veranda in this cave mentions the same Vākāṭaka ruler Hariṣeṇa as the ruling prince in line 21. According to this record this cave seems to have been dedicated by Achitya, the minister of a feudatory of the Vākāṭakas. Unfortunately the name of the feudatory ruler is not preserved, though the names of his ancestors and also of his younger brother are given in the record. The donor is stated to have built this gem of a temple of solid stone containing inside a *chaitya* of the Buddha (*niveśitāntar-munirāja-chaityam=ekāśmakam maṇḍaparatnam=etat*). He also built a large reservoir³ and, on the other side of it, towards the west, a *gandhakuṭī* (vv. 24-7). Burgess points out that there is no *gandhakuṭī* immediately to the west, though there are sculptures of the Buddha on the lower parts of the walls of the court.⁴

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¹ See Mirashi, *Vākāṭaka Inscription in Cave XVI at Ajantā* (Hyderabad Archl. Series, No. 14), p. 12, v. 24.

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² Ibid., p. 9.

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³ Burgess identifies this reservoir with the cistern below Cave XVIII, see *A.S.W.I.*, vol. iv, p. 54.

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⁴ Ibid., p. 54. Here I have followed Mirashi in the interpretation of *vithi*.

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Turning to the painted inscriptions in these caves, we find that so little of these is now left that it is difficult to come to a very definite conclusion regarding their age. From what is left of them and from the evidence of other engraved records found in these caves which have been noticed above, we shall not be far from the mark if we place most of these painted records, and therefore the paintings on which they are found, in the fifth and sixth centuries A.D., with the exception of a few in Caves IX and X. In the latter cave there is a painted and architectural evidence he considers Cave X to be the earlier of the two. He has placed Cave X in the second century B.C., while Cave IX in his opinion ‘cannot be earlier than the first century B.C.’

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inscription (No. 1), of which unfortunately only a few letters now remain. They, however, show that the record is to be dated at an earlier period, probably about the middle of the second century B.C., as the script seems to be of a time only slightly later than that of the inscription of Kaṭahādi, which on palaeographic grounds should be ascribed to the beginning of the second century B.C.¹ The painting on which this inscription is found seems undoubtedly to be coeval with the inscription and should therefore also belong to the second century B.C. If this dating is correct, the art of mural painting must have been very well developed in the Deccan long before the commencement of the Christian era.

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¹ Cf. Mr. Yazdani's remarks, *supra*, p. 1, f.n. 1.

The Painted Inscriptions

Cave VI

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There is now only one inscription found in this cave (Pl. I *a*). It is found in the left corridor to the right of the first cell-door (upper floor). The record, which is in three lines and partly effaced, reads: 1 Deyadharmmo-yaṃ śākyabhi[ksh*]o - taraṇakīrtt. 2 sya yad-atra puṇ[y]aṃ - - - [tu]² sar[v]va - satvānā - 3 m-a[nuttara - jñān - ā] - - - ³

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² *Descriptive Notes, etc.*, p. 82, No. 9, and pl.; *A. S. W. I.*, vol. iv, p. 138, No. 1, and pl. LIX, No. 1.

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³ Traces of these two letters are visible on the plate given by Burgess.

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‘This is the meritorious gift of the Śākya monk Taraṇa-kīrttana (?). Whatever merit is there, let that be for attainment of supreme knowledge by all sentient beings.’

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Line 1. There seem to be traces of a syllable after *ksho* which I cannot definitely restore. Probably we have to restore the name as *Taraṇakīrttana*. Line 2. Restore *tad-bhavatu*. Line 3. Restore *jñān-āvāptaye*.

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This inscription has not been noticed by Burgess. It is written below a figure which is badly damaged. To the left of the record there is the figure of a man with the right knee bent and holding something in his left hand, with right hand raised. Probably this is meant to be the figure of the monk who dedicated the painting.

Cave IX

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There are altogether eleven painted inscriptions extant in this cave, the twelfth one noticed below being now missing.

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1. This inscription (Pl. I *b*) is found on the front wall of the cave (interior) near the door, close to the head of the Buddha (according to Burgess the figure of a *bhikshu*). The record has suffered much since it was noticed by Burgess.⁴ Only traces of four lines now remain which read: 1 [Deyadharmmo*]-yaṃ śāk[yabh*]i[ksh]o - 2 [s-Sa]ṅghappr[i*] [yasya] 3 mātā . . . . . 4 - - - - -

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⁴ Traces of three letters are visible on Burgess's plate.

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‘This is the meritorious gift of the Śākya monk Saṅghapriya.’

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2. On the first pillar of the aisle on the left side, under the figure of a standing Buddha (Pl. Ic). Inscription in two lines.¹ 1 Deyadharmmo=yaṃ² [upāsa]ka-Jasa[de]- 2 vasya ‘This is the meritorious gift of the lay worshipper, Jasadeva (Yaśodeva)’

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¹ Burgess, *Descriptive Notes*, p. 83, No. 10, and pl.; *A. S. W. I.*, vol. iv, p. 136, p. 2, and pl. LIX, No. 2.

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² This syllable has been supplied. The whole record is quite clear in Burgess’s plate.

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3. On the same pillar over the canopy of the Buddha. Not read by Burgess (Pl. IIa).³ One line. [De]yadharm[m]o=yaṃ śākyabhi]kṣor=bhadaṃta - - - - sya. ‘This is the meritorious gift of the Śākya monk, reverend - - - -’

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³ See *Descriptive Notes*, p. 83, last para. of No. 10.

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4. On the same pillar in the petals of a lotus below the figure of a standing Buddha. Not read by Burgess.⁴ Deyadhar[mm*]o=yaṃ śākyabhikṣo - - - The inscription is in white paint and can be clearly read on the pillar, though on the photograph it is very faint.

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⁴ See *ibid.* The third fragment noticed by Burgess is now missing.

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5. On the fourth pillar on the left side (Pl. IIb). Two lines. Not read by Burgess.⁵ 1 Deyaddha(dha)rmmo=yaṃ śākyabhikṣo bhadaṃta-[āchārya?]- - - - 2 [se]nasya⁶ ‘This is the meritorious gift of the Śākya monk, reverend teacher - - sena’

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⁵ See *ibid.*, p. 83, No. 11, para. 3. No. 11 of Burgess is now missing.

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⁶ Probably we have to restore as Dharma- or Bhadrasenasya; see *A. S. W. I.*, vol. iv, Nos. 3 and 5.

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6. On the eighth pillar on the left side, on an umbrella (Pl. IIc). Two lines. Not read by Burgess.⁷ 1 Deyadharmm[o]=yaṃ śākya - - [ā]chārya⁸-bhadaṃta - - - -⁹ [ya]d=atra puṇyaṃ tta(ta) - 2 [d=bha*]vatu m[ātā*] - pitro - - -

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⁷ See *Descriptive Notes*, p. 83, No. 11, para. 4. Burgess notes another mutilated inscription on the third standing pillar which is now missing.

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⁸ Restore as *śākyabhikṣor-āchārya*.

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⁹ Only the first syllable of the name is partly visible.

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7. On the ninth pillar on the left side (Pl. IId), below the figure of a Buddha.¹⁰ One line. Deyadharm[o]=yaṃ śākyabhi[kṣo bhadaṃta¹¹-Bhadra][senasya*]¹² ‘This is the meritorious gift of the Śākya monk, reverend Bhadrasena’

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¹⁰ *Descriptive Notes*, p. 83, No. 13, and pl.; *A. S. W. I.*, vol. iv, p. 137, No. 5, and pl. LXI, No. 5.

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¹¹ This record is much clearer in Burgess’s plate. Burgess and Indraji read *bhikṣor-bhadaṃta*, but there is no *repha* sign visible on *bha*.

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¹² *se* is clear on Burgess’s plate but now effaced.

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8. On the back wall of the cave under a painted chaitya.¹³ One line. Characters bigger in size than is usual in this cave. Fragmentary (Pl. IIe). [D*]eyaddha(dha)rm[m]o=[yaṃ]¹⁴ [bha - - sya m.]¹⁵ 9. On the first pillar at the back, close to the ninth pillar on the right side. Fragmentary; only a few letters remain.

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¹³ *Descriptive Notes*, p. 83, No. 12 and pl.; *A. S. W. I.*, vol. iv, p. 137, No. 4 and pl. LXI, No. 4.

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¹⁴ Supplied.

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¹⁵ Taken from Burgess’s plate; now missing, except a portion of the first syllable. Probably to be restored as *bhadaṃtasya*. According to Burgess the language is Pāli, but it is only incorrect Sanskrit. The *Descriptive Notes* mention two other fragments on this same wall which are now missing.

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10. On the ninth pillar, right side, below the figure of a standing Buddha. Illegible.

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11. On the third pillar, right side. Not noticed by Burgess. One line; fragment. D[e*][ya]dharmoyaṃ śākyabhi[ksh]o-----

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12. Burgess notices an inscription on a jamb attached to the first pillar, under the throne of a seated figure of the Buddha.¹ This pillar is now broken and lost and the inscription missing. The plate as given by Burgess is quite clear; according to it the reading is: Deyadharmo yaṃ bhada(daṃ)ta² - [Dha]rmasena[sya], ‘This is the meritorious gift of the reverend Dharmasena.’

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¹ *Descriptive Notes*, p. 83, No. 11 and pl.; *A. S. W. I.*, vol. iv, No. 3 and pl. LIX, No. 3.

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² Burgess, *bhadanta*.

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According to Burgess the script of this inscription is somewhat earlier than Nos. 1 and 2 above.

Cave X

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1. On the left wall opposite the third column (Pl. III). This inscription is the most important of all the painted records found at present in the caves at Ajanta in that it is decidedly the earliest. Unfortunately it was badly damaged when Burgess noticed it for the first time in 1881, and it has suffered further since that date. Burgess’s plate shows that even then the upper portions of most of the letters were destroyed, making the reading and interpretation uncertain. The later inscriptions at Ajanta are painted either in black or white, but this particular inscription is painted in dark brown. The script of this record is slightly later than that of the inscription of Vāsiṭhīputa Kaṭahādi which is engraved on the left side of the arch of this same chaitya cave. This is also the only painted inscription of which the language is decidedly Prākrit. As the inscription is found written on the painting itself it is certain that this portion of the painting in this cave at Ajanta must also belong to the time of the inscription. What remains of this record now may be read as: [Bha]ga[va]sa yat. puvadeva[sa]-----

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Though the first and third letters from the beginning are not quite clear now, the reading *Bhagavasa* is quite certain from Burgess’s plate. The *ya* after *sa* is quite legible and it does not appear to have contained any vowel-mark on the top. The next letter is certainly *t*, but the vowel *mātrā* it might have had originally has now disappeared altogether. After this the reading of *puvad[e]va* is almost certain, though the *e mātrā* of *d* is now missing. The fragmentary letter after *va* seems to be the remains of a *sa*, though it is not quite clear on Burgess’s plate. All the letters after this are now illegible on the wall, but a few more of them can be read from Burgess’s plate. One or two letters, however, seem to be missing after *devasa*, and the first letter visible after *devasa* may be fragments of a *ta*, which appears to be followed by *na*, which Indraji has read as *ya*. One or two letters may again be missing after this, but the next extant letter may be *ti*. The next five letters are quite clear and may be read as *patisa yasa*. The rest of the inscription is missing in Burgess’s plate. Thus the inscription may have to be restored as follows:

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Bhagavasa yat. puvadevaṣa - - t.n. ti patisa yasa - - - Undoubtedly the inscription refers to the Lord Buddha, though the sense is not quite clear. In Pāli *puvadeva* means ‘a god of old’ and when used in the plural number usually refers to ‘the Asuras’. One thing, however, is clear, and this is that this was not a votive record but served as an explanatory note of the scene represented in the painting, which may have been from the life of the Buddha.

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The script, as far as can be made out from the few extant letters, shows a similarity with that found in the Bharaut inscriptions, and may be assigned approximately to the same period as the Bharaut inscriptions, viz. about the middle of the second century B.C.¹

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¹ *Descriptive Notes*, p. 84, No. 14 and pl.; *A. S. W. I.*, vol. iv, p. 137, No. 6 and pl. LIX. See also Lüders, *List of Brāhmī Inscriptions*, No. 1199, and *supra*, p. 1, f.n. 1.

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2. On the left wall opposite the space between the fifth and sixth columns.² Fragmentary; three lines (Pl. IV*a*).

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² *Descriptive Notes*, p. 84, No. 15 and pl.; *A. S. W. I.*, vol. iv, p. 137, No. 7 and pl. LXI.

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1 [Ā]chāryya - - - - Sachivasya 2 d[eyadha]rmm[o] yad=atra puṇyaṃ tad=bhavatu sa[rvva*-] [sa]- 3 tvānā[ṃ] du - - - - - ‘(This is) the meritorious gift of the teacher - - - - - Sachiva. Whatever merit is in this let that be for (removing the misery) of all sentient beings.’

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This inscription has suffered most since the time of Burgess. In line 1 the sign for *ā* in *āchāryya* is partly visible in Burgess’s plate. In line 2 *ya* and *dha* as well as the sign for *o* in *rmmo* are legible in Burgess’s plate. Similarly *sarvvasa* is also quite clear at the end of the line in the same plate. In line 3 nothing is legible now after *du*, but Burgess’s plate clearly shows *duḥkha-mochā*—which is apparently a misreading for *duḥkha-mocha[nāya*].

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Burgess notices another inscription on the same wall written on a thin white ground. It was faded even in his time, and no trace of it can be found at present.

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3. On the ninth pillar, left side, on umbrella above the head of a Buddha. Not noticed by Burgess. Fragment; one line.

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Deya[dharmmo=yaṃ] [śākya]bhiksho[r*] = bhadaṃta-[āchāryya-Śā] - -

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4. On the same pillar under the figure of the Buddha. The writing has become very faint and illegible. Possibly this is the one mentioned by Burgess in *Descriptive Notes*, p. 85, No. 18, line 2.

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5. On the same pillar, only the figure of a Buddha painted white (Pl. IV*b*). Reads: Tasy=aiva. As pointed out by Burgess this painting also must have been the donation of the person whose name was mentioned in the previous inscription.³

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³ *Descriptive Notes*, p. 85, No. 18 and pl.

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6. On the same pillar below the figure of a standing Buddha. Not noticed by Burgess. Inscription obliterated and illegible.

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7. On the tenth pillar, left side, on the umbrella over the figure of a Buddha.¹ One line (Pl. IVc).

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¹ *Descriptive Notes*, p. 85, No. 21 and pl.; *A.S.W.I.*, vol. iv, p. 137, No. 12 and pl. LXI.

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Deyadharm[m]o=yaṁ śākyabhikshor=bhadanta-Saṁhaguptasya ‘This is the meritorious gift of the Śākya monk, reverend Saṁhagupta.’

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8. On the seventeenth pillar, left side, below a seated figure of the Buddha.² Fragmentary; three lines. The inscription as far as it is preserved reads:

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² *Descriptive Notes*, p. 86, No. 24 and pl.; see also plate reproduced above.

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1 - - - - - guṇo - - - - - yā bhāsurad[i]ptayas=te 2 - - - - - yanābh. - - ye kārayamti=ha jinasya bimbam= 3 [Deyadha]rm[m]o=yaṁ [ś]ākyabhiksho[r=āchā*]r[ya] - bhada[ṁ*]ta - [Bu*]ddhasenasya Line 3. ‘This is the meritorious gift of the Śākya monk, reverend teacher Buddhasena.’

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The first two lines contain a verse in upajāti metre describing the merit accruing to those who dedicated the images of the Buddha. The same verse also occurs in Cave XXII, and can be reconstructed as follows:

v3.c13.s1.t3.24

Saurūpya-saubhāgya-guṇ-opapannā
guṇ-endriye bhāsura-dīptayas=te
bhavanti te³ nayan - ābhirāmā
ye kārayanti=ha jinasya bimbam

v3.c13.s1.t3.25

³ One long syllable is wanting here. Read *ch-aite*.

v3.c13.s1.t3.26

9. On the eighteenth pillar, left side, below a figure of the Buddha (Pl. Va). Not read by Burgess and Indraji.⁴ Fragmentary; two lines.

v3.c13.s1.t3.27

⁴ See *Descriptive Notes*, p. 86, No. 24, last para., line 1.

v3.c13.s1.t3.28

1 Deyadharmmo=yaṁ bha[ḍamta] - 2 [Buddha][soma]sya ‘This is the meritorious gift of reverend Buddhasoma.’

v3.c13.s1.t3.29

10. On the twelfth pillar, right side, over the umbrella (Pl. Vb). Not noticed by Burgess. Fragmentary; three lines:

v3.c13.s1.t3.30

1 Deyadharmmo=yaṁ śākyabhiksho[or=] Buddha - ma-⁵ 2 mātā - pita[ram=uddiśya] sa[rvva]-satvā - - - - - 3 nā - - -⁶

v3.c13.s1.t3.31

⁵ Probably this should be corrected to *Buddhasomasya*.

v3.c13.s1.t3.32

⁶ Ordinarily the restoration would be *satvānām-anuttara-jñān-āvāptaye*. But no traces of any letters are now found after *tvā* in line 2, and there seems to have been only one letter after *nā* in line 3.

v3.c13.s1.t3.33

11. On the tenth pillar, right side, near the feet of a figure of the Buddha.⁷ Four lines (Pl. Vd).

v3.c13.s1.t3.34

⁷ *Descriptive Notes*, p. 86, No. 23 and pl.

v3.c13.s1.t3.35

1 Mātā-pi- 2 taram=udi(ddi)śya 3 [sarva] 4 [Deyadha]⁸[rmmo=yaṁ śākyabhikshor*]=bhadanta-Keśavasya ‘For the sake of father and mother and all - - - - - this is the meritorious gift of the Śākya monk, reverend Keśava.’

v3.c13.s1.t3.36

⁸ Not visible now, but clear in Burgess’s plate.

v3.c13.s1.t3.37

There is no room for more than one letter after *sarva* in line 3; probably the usual formula was continued at the beginning of line 4 which is now effaced. There is a figure of a Buddhist monk to the left of the inscription in a sitting posture and offering incense, which is apparently meant to be the figure of the monk Keśava, the donor. There are two other figures sitting opposite, which may represent either votaries or parents of the monk.

v3.c13.s1.t3.38

12. On the same pillar, below the feet of the figure of a Buddha (Pl. V *c*). Not noticed by Burgess. Fragmentary. One line.

v3.c13.s1.t3.39

Only [Śa]kya[bh]i - - - - - - - tā-pita[ra*]m=udi(ddi)śya is visible.

v3.c13.s1.t3.40

13. On the right wall under the twentieth rib¹ (Pl. VI*a*). One line. Not read by Burgess-Indraji.

v3.c13.s1.t3.41

¹ See *Descriptive Notes*, p. 86, No. 24, last para., line 3. vol. iv, p. 137, No. 9.

v3.c13.s1.t3.42

Deyadharmmo=yaṃ śvā(śā)kyabhiksho[r]uVu(Bu)ddhi[nā]gasya . [su]² karaṇḍ[ā]tra baśa

v3.c13.s1.t3.43

² Reading uncertain; may be [hastā]. Perhaps this is the label of a *Jātaka* scene represented here.

v3.c13.s1.t3.44

‘This is the meritorious gift of the Śākya monk Buddhināga - - - - - -’

v3.c13.s1.t3.45

Burgess notices ‘a few letters of an inscription in longer characters’ under the fourth, fifth, and sixth ribs and fragments of another in two lines under the twenty-fourth and twenty-fifth ribs, which are now altogether effaced.

v3.c13.s1.t3.46

14. On the seventh pillar, right side, below the figure of a standing Buddha on a green ground.³ One line (Pl. VI *b*).

v3.c13.s1.t3.47

³ *Descriptive Notes*, p. 85, No. 17 and pl.; *A. S. W. I.*, vol. iv, p. 137 and pl.

v3.c13.s1.t3.48

Vi[pa*]śv[i] samya[k]-sambu[ddhaḥ] Chetika - . ikasya

v3.c13.s1.t3.49

‘Vipaśvin, the perfectly enlightened. (This is the gift) of Parika of the Chetika (school) (?).’

v3.c13.s1.t3.50

Indraji and Bühler read Vipaśśi, but the reading is clearly *śv*, probably with the vowel sign *ī*. Bühler’s wrong reading is due to the defective plate, in which the second consonant looks like *ś*. Both Indraji and Bühler read *Chetika(ya)rikasya*, i.e. ‘of Chetikayarika’. The fourth syllable has now completely disappeared and of the fifth only the *i* sign is now visible. But from Burgess’s plate the reading *ri* seems to be certain, though I am not at all sure of the reading of the previous letter as *ya*, which to me seems more like the fragments of *pa* or *pu*.

v3.c13.s1.t3.51

It may be noted here that the name of this Buddha is spelt as Vipaśvī (Pāli, *Vipassi*) also in Cave XXII and not as Vipaśyin.

v3.c13.s1.t3.52

15. On the sixth pillar, right side, at the feet of the Buddha.⁴ Three lines (Pl. VI *c*).

v3.c13.s1.t3.53

⁴ *Descriptive Notes*, p. 84, No. 16 and pl.; *A. S. W. I.*, vol. iv, p. 137 and pl.

v3.c13.s1.t3.54

1 Deya[dha . . yaṃ]⁵ śākya- 2 bhikshor=bhadaṃta-Drāḍha- 3 [dha]rm[m]asya

v3.c13.s1.t3.55

⁵ Read *dharmo-yaṃ*, which is clear in Burgess’s plate.

v3.c13.s1.t3.56

‘This is the meritorious gift of the Śākya monk, reverend Drāḍhadharma.’

v3.c13.s1.t3.57

16. On the fifth pillar, right side, below the figure of the Buddha (Pl. VI *d*). Not noticed by Burgess. Three lines in white letters.

v3.c13.s1.t3.58

1 Deyadharmmo=yaṃ śā- 2 kyabhiksh[or=] bhadanta-Dro- 3 ṇa[va]rmmasya ‘This is the meritorious gift of the Śākya monk, the reverend Droṇavarman.’

v3.c13.s1.t3.59

17. On the second pillar, right side, below the figure of the Buddha. Not noticed by Burgess. Inscription in three lines; badly effaced. The first line is written in much bigger characters than the other two. The first and the third lines are much shorter than the second. Only the word mātā is clear in the middle of the second line, and traces of a few letters are visible in the third.

v3.c13.s1.t3.60

1 [Deya]ddha(dha)rm[o]= ya[ṃ] 2 - - - - - - mātā - - - - 3 . . . . .

v3.c13.s1.t3.61

18-21. Burgess notices a few other inscriptions in this cave which are now missing. They are:

v3.c13.s1.t3.62

(1) On the eighth pillar on the left side, on the lotus under the feet of a standing Buddha.¹ Bhadanta-Sudattasya ‘Of the reverend Sudatta.’

v3.c13.s1.t3.63

¹ *Descriptive Notes*, p. 85, No. 19 and pl.; *A. S. W. I.*, vol. iv, p. 137, No. 10 and pl. LIX.

v3.c13.s1.t3.64

(2) On another side of the same pillar, also on a lotus under a seated Buddha, with a kneeling figure on each side of the lotus stalk, but the inscription is mutilated.² Also reads: [Bhada*]nta-Sudattasya This pillar is now broken and the inscriptions are missing.

v3.c13.s1.t3.65

² *Descriptive Notes*, p. 85, No. 20 and pl.; *A. S. W. I.*, vol. iv, p. 137, No. 11 and pl. LIX.

v3.c13.s1.t3.66

(3) On the sixth standing pillar, on the left side. Traces of a few letters on an umbrella.³

v3.c13.s1.t3.67

³ *Descriptive Notes*, p. 86, lines 2-3.

v3.c13.s1.t3.68

(4) On the fifth pillar on the right side, below a standing figure of Buddha. Two lines.⁴ 1 Deyaddha(dha)rmmo=yaṃ bhadanta - Śīlabhadrasya mātā - 2 pitaram=udi(ddi) [śya*] ‘This meritorious gift of the reverend Śīlabhadra in honour of father and mother.’

v3.c13.s1.t3.69

⁴ *Ibid.*, p. 86, No. 22 and pl.; *A. S. W. I.*, vol. iv, p. 138, No. 13 and pl. LIX.

v3.c13.s1.t3.70

This inscription could not be traced, but for another inscription on the same pillar see No. 16 above.

Cave XVI

v3.c13.s1.t4.1

On the left wall of this cave there are two series of seated Buddhas painted one above the other. There are altogether three votive inscriptions in this cave, two of which are above the door of the third cell and one in the upper row of the Buddhas, below the seat of the third from the left. The names of donors are written also on the pedestals of some of these figures. All three have been noticed by Burgess and transcribed by Indraji and Bühler.

v3.c13.s1.t4.2

1. Inscription below the first and the second seated Buddhas in the lower series.¹ Three lines (Pl. VIIa). 1 Deyadharmmo=yaṃ śākyabhikṣor=bh(b)bhadanta - Dharmmadattasya yad=atra puṇyaṃ 2 tad=bhavatu mātā - pitros=[sa]rvvasatvānāñ=ch=ānuttara - jñā[nāvā]pta- 3 ye[ssuḥ]² ‘This is the meritorious gift of the Śākya monk, reverend Dharmadatta. Whatever merit is in this, let that be for the attainment of supreme knowledge by his father and mother and also by all sentient beings.’

v3.c13.s1.t4.3

¹ *Descriptive Notes*, p. 87, No. 27 and pl.; see also *A. S. W. I.*, vol. iv, p. 138, No. 15, para. 2.

v3.c13.s1.t4.4

² This syllable is superfluous. Indraji reads *ye-stu*. Though it can be so read from Burgess’s plate, the form of this compound letter is slightly different in the original inscription.

v3.c13.s1.t4.5

2. Below the figures of the third and the fourth Buddhas in the same series.³ Two lines (Pl. VIIb). 1 Deya[dha] rmmo=yaṃ śākyabhikṣor=bh(b)bhadanta-Dharmmadat[t]asya [ya]d=atra [puṇyaṃ*]⁴ 2 tad=bhavatu [m]ātā - pitros=sarvvasatvānāñ=ch=ānuttara - jñān - āvāptaye Translation as preceding.

v3.c13.s1.t4.6

³ *Descriptive Notes*, p. 87, No. 27 and pl.; *A. S. W. I.*, vol. iv, p. 138, No. 15 and pl. LIX.

v3.c13.s1.t4.7

⁴ This portion within square brackets is now lost.

v3.c13.s1.t4.8

3. Below the figure of the third Buddha on the top row.⁵ Three lines (Pl. VIIc). 1 Deyadharmmo=yaṃ śākyabhikṣ[o]r=bh(b)bhadanta - Bāp[u]kasya 2 yad=atra [pu]ṇyaṃ tad=bhavatu mātā - pitro[ḥ*] sarvva - [sa]tvānāñ=ch=ā- 3 ma nuttara - jñān - āvāp[t]aye ‘This is the meritorious gift of the Śākya monk, reverend Bāpuka’, etc. Line 1. Indraji and Bühler read the name of the donor as Dāpuka. From an examination of the original I find that the first syllable is a faded *ba*. That the name is Bāpuka is also clear from its being written in three other places as noticed below. Line 2. The symbol at the beginning of this line Indraji takes to be a mark of continuation. I would prefer to read it as an ordinary *ma* which is superfluous. The mistake is due to a confusion of the scribe with the more common expression of the formula as *satvānām=anuttara*.

v3.c13.s1.t4.9

⁵ *Descriptive Notes*, p. 87, No. 25 and pl.; *A. S. W. I.*, vol. iv, p. 138, No. 14 and pl. LIX. See also plate illustrated above.

v3.c13.s1.t4.10

Each of these series apparently contained the figures of the eight *mānuṣi* Buddhas. In the lower row only four of these figures are now intact. Those inscriptions which give the name of the donor as Bhadanta-Dharmmadattasya, ‘of the reverend Dharmadatta’, are still partly or wholly visible on the pedestals of all the four figures. On the top row also, only four figures are now intact. On one of these (fourth from the left), within one of the petals of the lotus seat, is found an inscription which reads Bāpukasya, ‘of Bāpuka’. The inscriptions on the next two Buddhas in this row are also visible. Of these the first (fifth from the left) reads: Bhadanta-Bāpukasya, ‘of the reverend Bāpuka’, and the second (sixth from the left) Bāpukasya, ‘of Bāpuka’. Both are written within a petal of the lotus seat.

v3.c13.s1.t4.11

4-5. On the same wall in this cave are found in two places writings in yellow pigment in fairly big letters (Pl. VIIIa-b). The script belongs to the nail-headed variety, but it is far too effaced to ensure satisfactory reading.

v3.c13.s1.t4.12

6. On the back of the veranda, to the right of the entrance, there are a few names painted in black on painted figures (Pl. VIII c-e). The scene illustrates the well-known Viśvantara (Pāli, Vessantara) Jātaka. The names that are clear read Vaiśvantaraḥ and Indraḥ. Of the third name only one syllable is preserved which reads yu and apparently, when complete, contained the name of Jujaka (Jūjaka of the Pāli Jātaka story), the avaricious Brahman who came to ask for the son and daughter of Vaiśvantara to be his slaves. It may be noticed here that Āryaśūra’s *Jātakamālā* does not give the name of this Brahman. It is therefore likely that the story illustrated in this cave was from a different version, akin to that found in the Pāli Jātaka. It is also to be noted that while Āryaśūra calls this prince Viśvantara, the name given here is Vaiśvantara; which is the correct Sanskrit form of Pāli Vessantara. This Sanskrit reading would also show that the derivation of the name according to the Pāli version from Vessa (Sanskrit, Vaiśya) is fanciful and unwarranted.

Cave XVII

v3.c13.s1.t5.1

Two painted inscriptions of this cave have been noticed by Burgess.¹

v3.c13.s1.t5.2

¹ *Descriptive Notes*, p. 87, Nos. 28 and 29.

v3.c13.s1.t5.3

1. Below the figure of a Yaksha (Maṇibhadra) at the left end of the veranda (Pl. IX a). Maṇibhadraḥ

v3.c13.s1.t5.4

2. On painted figures in a scene illustrating the Śibi-Jātaka story, at the right end of the front aisle of the hall, the name Śibirājā is found in three places below the figure of a king (representing Śibi), twice on the right wall of the front corridor and once on the left wall of the corridor (Pl. IX b-c). Burgess notices the name of Indra occurring in two places, but this name cannot be traced now.

v3.c13.s1.t5.5

3. Besides these there is one inscription in two lines in red paint and cursive writing on the left wall of the front corridor (Pl. IX d). The reading of the inscription is not certain, but it seems to mention a name. The writing appears to be of about the 7th century A.D. The following tentative reading is suggested: 1 Śrī Ru (Bha?) māṇamāṇāvapaukagai . deva 2 vidushā chaṇḍa- No sense can, however, be made of this.

v3.c13.s1.t5.6

4. There is a similar inscription on the back wall of the veranda, to the left of a small door (Pl. IX e). The writing is in the same cursive hand and seems to have contained the same name as before, as the syllables śrī and pauka, which are quite legible, would show.

v3.c13.s1.t5.7

Abacus, representation of an, 3 Achitya, 87 Age of the Caves, 86 Aigrette, as hair-ornament, 43 Ajanta, Part II, 85 Ajanta, Cave VI: antechamber of lower story, 8, 9; shrine door of lower story, 8; antechamber of upper story, 10; front corridor of upper story, 11, 12; inscriptions, 85, 88 —, Cave VII: veranda, 13, 14 —, Cave IX: front wall, 15; left wall, 17; back wall, 19, 20; frieze of nave, 22; triforium, 23; inscriptions, 85, 88–90 —, Cave X: left aisle, 24; left wall, 27, 28; right wall, 29; right aisle, 30; inscriptions, 85, 86, 90–4 —, Cave XI: veranda, 39; left window, 41 —, Cave XVI: veranda, 42; architrave, 44; front corridor, 46, 47; left corridor, 49, 52 sqq., 63; right corridor, 61, 65; inscriptions, 86, 94, 95, 96 —, Cave XVII: veranda, 70, 73, 75, 78, 80; inscriptions, 96 —, Frescoes, dates of, 1, 2, 21 —, summary, 7 Ajātaśatru, visit of, to the Buddha, 58, 59 Allan, Mr. John, work of, 85 Alligators, representations of, 33 Alms distribution, 70 Amazons, representations of, 36, 72 Andhras, represented, 16 Anklets, representations of, 18, 43 Antelope, representation of an, 23 Ants, representation of, 34 Apsarases (flying figures), 5, 13, 16, 27, 56, 75, 78 Archaeological Survey of Western India, 85 Areca-nut tree, representations of, 28, 53, 71, 74 Armlets, representations of, 16, 25, 77

v3.c13.s1.t5.8

Arms (human), representations of, 9, 40 Arrows (and bows), representations of, 25, 29, 30, 34, 76 Asita, visit to the Buddha of the rishi, 68 sqq. Aśoka, samālū tree, representation of, 15, 21, 26, 27, 28, 77, 78 Assurance attitude of the Buddha (abhaya), 18, 77 Attendants, depicted, 14, 16, 28 Attitudes of the Buddha: assurance (abhaya), 18, 77; earth-touching (bhūsparśa), 8, 10, 37; meditative (dhyāna), 77; teaching (dharma-chakra-mudrā), 8, 13, 14, 20, 21, 37, 56, 57 sqq.; Praṇāma, 43 Avalokiteśvara (?) Bodhisattva, 41, 57 Axes, representations of, 25

v3.c13.s1.t5.9

Bahusodari, the goddess, 30 Balconies, depicted, 81, 82 Bamboo tree, representation of, 34 Banana tree, representation of, 30, 51, 67, 69, 70, 74 Bangles, representations of, 25 Banyan tree, representation of, 18, 26, 33, 34 Bāpuka, 86, 95 Barber, representation of, 54 Beads, representation of, 9 Beards, representations of, 12, 17, 20, 40, 68 Bedstead, representation of, 36 Beggar, representation of, 74 Begging bowls, representations of, 19, 53, 61, 74, 82 Berm-rail, representation of, 3, 4 Bhadrasena, 85, 89 Bhagwanlal Indraji, Pandit, work of, 85 Bhau Daji, work of, 65 Bhikshus, 2, 10, 15, 38, 40, 42, 46, 60, 70 Bimbisāra, visit of, to the Buddha, 62 Boat, representation of, 49 Bodhi tree, worship of the, 24, 25–9 Bodhisattva, 29, 30, 31, 34, 46

v3.c13.s1.t5.10

Bodhisattva, Avalokiteśvara, 41, 57 —, Hasti, 46 —, Maitreya, 14, 77 —, Padmapāṇi, 14, 21, 39 —, Shaḍ-Danta, 34 —, Śvetaketu, 42 —, Vajrapāṇi, 21, 57 —, Viśvantara, 42, 73 Bodice, representation of a, 11, 66 Bolster, representation of a, 83 Boots, depicted, 48 Bow, see under Arrow Brassière (cholī), representation of a, 51 Brazier, representation of a, 66 Buddha, figure of the, 4, 8, 13, 19, 41, 53, 56, 67; story of birth of the, 14; life of the, 42, 60, 61 sqq., 65 sqq., 68 Buddhasena, 86, 92 Buddhasoma, 86, 92 Buddhināga, 86, 93 Buddhist architecture, 3, 4 Buddhist religious motifs, 3, 4 Bull, representation of, 23 Bull-headed animal, representation of a, 22 Burgess, work of, 6, 19, 22, 44, 53, 65, 85, 86

v3.c13.s1.t5.11

Cambridge History of India, 29 Candlestick, representation of, 66 Canopy, depicted, 72 Caps, representations of, 12, 23, 37, 48, 50, 52, 67, 72, 73 Cart, country, representation of, 48 Chair, royal, representations of, 36, 45, 56, 57 Chakravarti, Dr., work of, 55, 85 ff. Chaitya (cathedral), 2, 3 Chariot, depicted, 65 Chaurī, see under Fly-whisk Cherubs, see under Gaṇas Chinese art, influence of, 38, 39 Chulla-subhaddā, wife of the Shaḍ-danta elephant, 34, 35 Cloak, representation of, 59 Coats, representations of, 37, 40, 48, 50, 52, 67, 70

v3.c13.s1.t5.12

Cobras, representations of, 5, 10, 16 Collars, representations of, 13, 40, 52 Conception of the Buddha, story of the, 65 Conch, representation of a, 18 Coolie, representation of a, 53 Costume, representations of a bodice, 11, 66; boots, 48; a brassière (choli), 51; caps, 12, 23, 37, 48, 50, 52, 67, 72, 73; a cloak, 59; coats, 37, 40, 48, 50, 52, 67, 70; collars, 13, 40, 52; dhotis (loin-cloths), 14, 15, 17, 40, 56; girdles, 9, 30; jackets, 12, 25, 72, 73; sandals, 34; sāris, 42, 43, 51, 66; scarves (oṛhṇīs), 11, 23, 25, 52; skirts (ghaghrīs), 56; stockings, 48; a tunic, 57; turbans, 17, 25, 34, 40, 79; veils, 25 Cottage, representation of a, 31 Couch, representation of a, 18, 65 Cousins, work of Dr. J. H., 2 Cows or oxen, representations of, 46, 62 Creepers, representations of, 19, 37 Crowns, representations of, 14, 24, 40, 41, 48, 57, 67, 75 Cushions, representations of, 42, 55 Cymbals, representations of, 40, 75, 76, 79

v3.c13.s1.t5.13

Dagger, representation of a, 48, 75 Dāgobas, representations of, 3, 23, 37 Dancers, depicted, 26 Dates of the frescoes, 1, 2, 21 Deer, representations of, 31 Demons, representations of, 10 Dharmadatta, 86, 95 Dharmasena, 85, 90 Dhoti (loin-cloth), representation of a, 14, 15, 17, 40, 56 Donkeys, representations of, 10 Donors, names of, 85, 86, 93-5; representations of, 11 Do-tārā or ek-tārā, 66 (illustrated) Dovecote, representation of a, 69 Drāḍhadharma, 86, 93 Droṇavarman, 86, 94 Drums, representations of, 18, 76 Ducks, representations of, 31 Dvārapālas, 8, 9, 11

v3.c13.s1.t5.14

Dwarfs (gaṇas), representations of, 5, 11, 12, 44, 73, 76

v3.c13.s1.t5.15

Ear-rings, representations of, 9, 15, 16, 25, 49, 51, 77 Earth-touching attitude (bhūsparśa), 8, 10, 37 Egyptian style of hair-dressing, 76 Ek-tārā or do-tārā, 66 (illustrated), 75 Elephant, representations of an, 6, 10, 29, 33, 34, 47, 65, 69, 81 —, The Benevolent, 46 —, The Six-tusked, 32 Elephants, procession of, 58 sq. Elephant driver (mahāwat), representation of an, 59 Ethnic features, 25, 53, 74 Eye, a third, representation of, 21 Eyes, depicted, 24, 25, 27

v3.c13.s1.t5.16

Fan-bearer, depicted, 51 Fergusson, work of, on Ajanta Caves, 4, 6, 22, 54, 86 Ferns, representations of, 78 Fingers, representations of, 9, 11, 12, 38 Fireplace, representation of a, 61 Flags, representations of, 26, 39, 62 Flames, representation of, 18 Flask, emblem of Maitreya, 14 Flutes, representations of, 58, 75 Fly-whisks (chaurīs), representations of, 2, 16, 20, 21, 29, 45, 60, 65 Footmen, representation of, 58 Foucher, work of, 20, 44, 60

v3.c13.s1.t5.17

Gaṇas (dwarfs, cherubs, or boys), representations of, 5, 11, 12, 44, 73, 76 Gandharva, 56, 78 Gateways (toraṇas), representations of, 17 Gautama, see Buddha Ghanāmadaḍa, 86 sq. Gill, Major, work of, 54 Girdles, representations of, 9, 30 Goad, representation of a, 29 Goblin, representation of a, 10 Griffiths, work of, 15, 18, 19, 31, 47, 52, 71, 76 Groom, representation of a, 53

v3.c13.s1.t5.18

Hair, treatment of the, 9, 17, 20, 24, 26, 34, 35, 37, 40, 43, 51, 64, 71, 76, 81 Hair-tuft (uṣṇīṣa), 11, 77 Hall, representation of a, 4, 5, 55 Hands, depicted, 22, 41, 69 Harisheṇa, king, 5, 44, 73, 87 Hasti, see Elephant Heavens, The Six, 42 Herdsman, representation of a, 22 Hermits, representations of, 57, 61, 62, 64 High-lights, use of, 20, 41, 42, 49, 51, 66, 71 Horses, representations of, 10, 45, 48, 52, 53, 62, 69, 70, 81 Horses, riderless, 48, 53, 71 Hyderabad Archaeological Series, 87

v3.c13.s1.t5.19

Indo-Greek art, school of, 38 Indra (Sakka), 2, 25, 58, 75 Initiation, sign of, 28 Inkstand, representation of an, 68 Inscriptions, the painted, in Caves VI-XVII, 85-95 —, date of, 87 Islamic art, 39 Italian art, resemblance to, 13

v3.c13.s1.t5.20

Jackets, representations of, 12, 25, 72, 73 Jasadeva, 85, 89 Jātaka, subjects from the, passim; Conversion of Nanda, or the Dying Princess, 1, 2; Hasti, 46; Indra, 2; Mahā-Ummagga, 47; Shaḍ-Danta, 1, 32; Śibi, 86, 96; Sutasoma, 44 sq.; Śyāma, 1, 29; Viśvantara, 73, 86, 96 Jaṭilas, conversion of, 20 Jewellery, representations of, passim; armlets, 16, 25, 77; anklets, 18, 43; bangles, 25; beads, 9; ear-rings, 9, 15, 16, 25, 40, 51, 77; necklaces, 16, 25, 42, 51, 77; pearls, 9, 22, 40, 75; a finger-ring, 8; wristlets, 16, 77 Jīvaka (?), cloak of, 59 Jūjaka, see Yujaka

v3.c13.s1.t5.21

Kāla-devala, 68

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Kaṭahādi, see under Vāsiṭhīputa Kerchiefs, depicted, 35 Keśava, 86, 92 sq. Kinnaras (heavenly musicians), 21, 40, 76

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Ladder, representation of a, 20 Lake, a lotus-, 33, 34 Landscape painting, 76 Lattice frame, depicted, 3 Lion, representation of a, 22 Lioness, story of the, 44 Lips, depicted, 25, 27 Lotus-flower (padma), representations of the, 4, 6, 11, 14, 21, 22, 31, 34, 56, 57, 67 Lotus-lake, 33, 34 Lotus-leaf designs, 13

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Mace (vajra), representations of a, 25, 57 Mahā-māyā, dream of, 14, 42, 43 Mahā-subhaddā, wife of the Shaḍ-danta elephant, 34 Mahā-Ummagga Jātaka, 47 Maid-servants, representations of, 51, 67, 73 Maitreya, 14, 77 Mango tree, representations of a, 15, 21, 26, 27, 28, 77, 78 Maṇibhadra, 86, 96 Mānuṣi Buddhas, 55, 77 Māra, figure of, 10 Marāṭhī ladies, fashion of, 43 Māyā, dream of, 65 sqq. Meditation of the Buddha, First, 63 Meditative attitude (dhyāna), 77 Mirashi, Professor, work of, 87 Moggallāna, the ascetic, 20 Monasteries (vihāras), 3, 6, 7, 18, 19, 33, 46 Monks, representations of, 54, 82 Monks, one-eyed, representations of, 37, 38, 71 Monkey, representation of a, 42, 76 Monsters, 22, 33, 56 Moorish influence on Buddhist architecture, 4 Moustache of the youthful Buddha, 64 Murder of a child, story of the, 47

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Musical instruments represented: conch, 18; cymbals, 40, 75, 76, 79; drums, 18, 76; ek-tārā or do-tārā, 66, 75; flutes, 58, 75; trumpets, 18, 26, 58, 59 Musicians (see also under kinnaras), 26

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Nāgas, figures of, 57 Nails, depicted, 38 Nālāgiri the Furious Elephant, story of, 80 Nanda, story of the Conversion of, 1, 2, 49 sqq., 52 Necklaces, representations of, 16, 25, 42, 51, 77 Nimbus, representation of a, 10 Nun, representation of a, 37

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Ogres, representations of, 46 Osiers, depicted, 72 Oxen, representations of, 46, 64

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Padma (lotus-flower), 4, 6, 11, 14, 21, 22, 31, 34, 56, 57, 67 Padmanabhapuram, imitations of Ajanta art at, 2 Padmapāṇi, 14, 21, 39 Palace, representation of a, 36, 53, 73 sq. Pañchika, figure of, 69, 70 Parapet, representation of a, 4, 54 Parika, 93 Parrot, representation of a, 69 Parthian soldier, representation of a, 72 Peafowl, representations of, 34, 35, 40, 52, 79 Pearls, representations of, 9, 22, 40, 75 Pigeons, representations of, 4, 5 Piliyakkha, rājā of Benares, 29, 36 Pillars, representations of, 3, 4, 6, 20, 37 Pillows, representations of, 50, 65, 78 Pīpal tree, representations of a, 18, 25, 77 Pitchers, depicted, 72 Plinth, depicted, 4 Ploughing Festival, 63 Porches, representations of, 55, 67

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Praṇāma posture (adoration), 43 Preaching, Buddha, 60 Princess, story of the Dying, 1, 2 Pythons, representations of, 33

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Qam'a, 'weapon of destruction', 28 Quiver, representation of a, 31

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Relic-box, representation of a, 3 Rhys Davids, Professor, work of, 58, 59 Ring, representation of a, 8 Roof (of monastery), depicted, 18 Rosary, representation of a, 57

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Sachiva, 86, 91 Sādhu, 19, 20, 72 Sakka or Indra, 2, 21, 58, 75 Sāl (?) tree, 34 Samālū or Aśoka tree, 15, 21, 26, 27, 28, 77, 78 Saṁhagupta, 86, 92 Saṁghapriya, 85, 88 Sāriputta, the ascetic, 20, 82 Sandals, representations of, 34 Sanchi, gateways at, 28 Sārī, representations of a, 42, 43, 51, 66 Saudāsa, 45 Scarves, representations of, 11, 23, 25, 52 Screen, representation of a, 4 Serpents, representations of, 13, 21, 33, 44 Shaḍ-Danta Bodhisattva, the, 1, 32, 34 Shields, representations of, 28, 30, 58, 72, 81 Shops, depicted, 63, 81 Śibi Jātaka, 86, 96 Sickle (or sword ?), representation of a, 10, 25 Siddhārtha, the Prince, 67 Śilabhadra, 94 Sittanavasal, paintings at, 2 Skirt (ghaghrī), representation of a, 56 Sonuttara the hunter, 33, 34, 35 Spears, representations of, 25, 30 Speir, work of Mrs., 53 Śrāvastī, the Miracle of, 12 Stag, representation of a, 24

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Stair, representation of a, 4, 5 Stirrups, absence of, 30 Stockings, representations of, 48 Stools, representations of, 26 Stūpa, 17, 27, 33 Sudāsa, King of Benares, 44 Sudatta, 86, 94 Śuddhodana, the King, 15, 65 Śvetaketu, the Bodhisattva, 42 Swords, representations of, 10, 25, 28, 57, 58, 65, 72, 75, 81 Śyāma, 1, 29

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Taraṇakīrttana, 88 Teaching attitude, the, 8, 13, 14, 20, 21, 37, 56, 57 sqq. Thomas, Dr. E. J., work of, 42, 50, 58, 62 Thrones, representations of, 21, 33, 50, 64 Thunderbolt, representation of a, 21 Tiger, representation of a, 6, 23 Toes, representations of, 11, 38, 43 Toranas (gateways), representations of, 17, 28 Trays, representations of, 43, 56 Trees, representations of, *passim*; areca-nut, 28, 53, 71, 74; aśoka, 15, 21, 26, 27, 28, 77, 78; bamboo, 34; banana, 30, 51, 67, 69, 70, 74; banyan, 18, 26, 33, 34; Bodhi, 25–9; creepers, 19, 37; ferns, 78; pīpal, 18, 25, 77; sāl, 34 Triratna, 11 Trumpets, representations of, 18, 26, 58, 59 Tuft of hair (*uṣṇīṣa*), 11, 17, 77 Tunic, representation of a, 57 Turbans, representations of, 17, 25, 34, 40, 79 Tuṣita Heaven, the, 21, 42, 43, 44, 58 Tusks, representations of, 1, 33, 34

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Umbrellas, representations of, 3, 16, 18, 23, 28, 29, 35, 36, 39, 48, 55, 72, 74 Upajāti metre, verse in, 92 Uṣṇīṣa (hair-tuft), 11, 17, 77

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Vajrapāṇi, the Bodhisattva, 21, 57 Vajra (mace or thunderbolt), 21, 25, 57 Varāhadeva, 87 Vāsiṭhīputa Kaṭahādi, inscription concerning, 3, 86, 88 Verandas, representations of, 4, 5, 55, 67 Veil, representation of a, 25 Vihāras (monasteries), 3, 6, 7, 18, 19, 33, 46 Vipaśvi, or Vipaśyin, 93 Viśvantara, the Bodhisattva, 42, 73, 86, 96 Votaries, representations of, 8, 9, 17, 27, 40

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Warren, Mr., work of, 15, 42, 43, 61, 63 Waistband, representation of a, 17, 70 Water-vessels, representations of, 14, 19, 36, 72 Weapons, representations of, *passim*; arrows (and bows), 25, 29, 30, 34, 76; axe, 25; dagger, 48, 75; quiver, 31; mace, 25, 57; shields, 28, 30, 58, 72, 81; sickle (or sword?), 10, 25; spears, 25, 30; swords, 10, 25, 28, 57, 58, 65, 72, 75, 81 Whip, representation of a, 71 White elephant, 32, 33, 34, 47, 65 Wine-cup, depicted, 78 Wristlets, representations of, 16, 77

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Yakṣas, 77 Yakṣiṇīs, 77 Yujaka, 96

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(a) CAVE VI, 1

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(b) CAVE IX, 1

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(a) CAVE IX, 3

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(b) CAVE IX, 5

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(d) CAVE IX, 7

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(e) CAVE IX, INSCRIPTION ON STUPA

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the Roman world, and the most important events of the reign of Constantine are thus represented as the immediate consequences of his conversion. But the historian, who must be content with the evidence of the times, will not be easily persuaded that the zeal of Constantine was not stimulated by the hope of political advantage, or that the conversion of the empire was not the result of a long and gradual process of change.

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The conversion of Constantine is a subject which has been discussed with great warmth by the historians of the church, and it is not surprising that their opinions should be divided. The panegyrists of the emperor, who were eager to celebrate his piety and his zeal, have represented his conversion as a miraculous event, which was confirmed by the appearance of a cross in the sky, and by the victory which he obtained over his rival Maxentius. The critics, on the other hand, who are less disposed to believe in the supernatural, have sought to explain the conversion of Constantine by the influence of his mother Helena, or by the political necessity of securing the support of the Christians, who were already a powerful and influential body in the empire.

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Linked texts (2)

Jātaka — Pāli
Jātakamālā — Āryaśūra, Sanskrit