The Early History of the Deccan (Parts I–XI) v2.c16.s1.12

v2.c16.s1.12

This stūpa when intact must have represented a vigorous style of architecture, based upon lofty religious ideals and a highly developed artistic sense. The latter two features of the early architecture of the Deccan are more impressively represented in the Buddhist chaityas, or cathedrals, the plans of which, as was observed above, resemble closely those of the Roman basilicas. Among such shrines the chaityas at Bhājā, Beḍsā, Pitalkhorā, Kārle, Koṇḍāṇe, Nāsik, Junnar, and Ajanta constitute a magnificent group, and they all belong to the first two centuries immediately preceding the Christian era. Being almost coeval in age they possess many common features, such as the use of wooden ribs in the vault of the ceiling, the wooden screen in the horse-shoe arch above the main entrance, the winged animals and sphinxes above the capitals of pillars (Plate VI a), the pyramid-shaped parapet carved on the façade (Plate VI b), the inward leaning of the jambs of doorways and columns of the hall, and the bell-shaped Persepolitan design of the capitals of pillars (Plate VII a). These temples vary in dimensions, and although the *chaitya* at Kārle is the most spacious,¹ and also the most imposing in regard to its architectural detail (Plate VII *b*), yet as its façade has lost many of its original features, a description of the *chaitya* at Beḍsā will be more suitable for the present review because this latter temple is comparatively in a better state of preservation. The plan of this *chaitya* resembles in arrangement to a certain extent the plan of the early Christian churches, comprising the nave, the side-aisles, and the apse containing the *stūpa* or *dagoba*. The side-aisles join in a semi-circular passage behind the *dagoba*. The *chaitya* at Beḍsā has an imposing portico in front of it, the pillars of which rise to a height of 25 ft. and are crowned with figures of animals. Some of these have human riders, the latter being carved with consummate skill. These figures are not only bold in conception but also most vivid in expression (Plate III *b*). The shafts of the pillars are octagonal in design, and they spring from pot-shaped bases and are surmounted with fluted bells which, according to Fergusson, are more Persepolitan in design than the capitals of pillars at any other place in India. The portico, which is in the form of a veranda, measures 30 ft. 2 in. in length and 12 ft. in width. The ceiling, owing to the height of the pillars and side-walls, is too high, but the rich carving attracts the eye at once and the idea of any incongruity does not rise even in the mind of the most discerning critic (Plate VIII *a*). The designs include religious architectural motifs, such as the rail and the *chaitya*-window with its lattice-work; but they are repeated so often, and are carved in such a skilful manner, that the whole looks like a goldsmith's work, and the love of the Deccan artist for richness of ornamentation is abundantly illustrated.