Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v4.c17.46

v4.c17.46

¹³³ See also *On Yuan Chwang’s Travels in India*, by Thomas Watters, edited by T. W. Rhys Davids and S. W. Bushell, London, 1905, vol. ii, p. 239, giving Yuan Chwang’s description of Achala’s monastery with ‘its lofty halls and deep chambers . . . quarried in the cliff’ ³ Expressed by a symbol. ⁴ Read -vit [*] tri-. In fact, after the syllable *vi*, there is a damaged letter which may have been a mute *t*. In that case we had better read -vi[t] [*] tri, the *t* preceding *r* in *tri* having been duplicated. The facsimile in A.S.W.I., vol. iv, Plate LVIII, No. 6, shows a blank space after *vi*. ⁵ Read *Munir-a-bhiḥ*. The reading given by Bhagwanlal Indraji is *mu[śitabhiḥ?]*, which has been accepted by James Burgess, who deletes the query-mark. ⁶ The engraver evidently first engraved a mute *m* after *na* and then, erasing it, he engraved an *anusvāra*, which is seen a little aside, below *sa* of *samyag=* in line 2 above. ⁷ The position of the letter *va*, in the margin away from the alinement, shows that it was first omitted and was later supplied. ⁸ Read *udbhāvayat*, as suggested by Bhagwanlal Indraji.