The Cambridge History of India, Vol. I: Ancient India v1.c33.40

v1.c33.40

The above remarks apply in an equal degree to the other great class of rock-cut remains—namely, the *vihāras* or residential quarters of the monks. These *vihāras* call for little comment. The most perfect examples of them were planned like the structural edifices of the same class, but with this unavoidable difference, that the range of cells on one side of the court was replaced in the cave *vihāras* by an open verandah, through which light and air could be freely admitted to the interior. In other cases, and among these are to be reckoned the majority of the early *vihāras*, the plan is irregular, the cells being disposed in one or two rows only, and often at erratic angles; while in one instance—at Bedsā—they are ranged round an apsidal court, manifestly imitated from a *chaitya* hall. A striking feature of these *vihāras* and one in which they present a great contrast to those of the Eastern Coast, is the almost total absence of figure sculpture. In nearly all the examples known to us the façades of the cells are embellished only by simple architectural motifs, such as horse-shoe arches, rails, lattices, and merlons, and it is only in rare instances, as at Nadsūr (Pl. XXVI, 71) and Pitalkhorā, that the severity of this treatment is relieved by figures of Lakshmī placed over the doors or pillars, or by pilasters of the Persepolitan type surmounted by kneeling animals. In only one *vihāra* is there any attempt at more diversified sculpture. This is at Bhājā, where standing figures of guards and more elaborate scenes are executed in relief on the walls of the verandah and interior hall. One of these scenes, from the west end of the verandah, is illustrated in Pl. XXVI, 70. It depicts a four-horse chariot with three figures—a male and two females—riding within, attendant horsemen at the side, and monster demons beneath. This composition has been interpreted as the car of Sūrya accompanied by his two wives driving over the demons of darkness, but it is more than doubtful if this interpretation is correct. Four-horse chariots of this type are a familiar motif in early Indian art, and in this instance there is nothing special to indicate the identity of Sūrya.