The Early History of the Deccan (Parts I–XI) v2.c16.s1.14

v2.c16.s1.14

There are two cells at each end of the veranda towards the right and left, the first cell on the latter side being incomplete. They have stone benches, and the jambs of their doors slant slightly inwards, both features indicating the early age of the excavation. Above the lintels of the cell-doors there is first a floral lattice design, and above that the rood-screen pattern, such as is to be seen in original wood in the *chaitya*-windows of Koṇḍāṇe and Bhājā. Access to the interior of the *chaitya* is given by three doors, the middle one of which is larger in dimensions than the two in the sides. The gallery in the sill of the great window, above the main entrance, extends 3 ft. 7 in. into the cave, which, besides the two irregular pillars in front, has twenty-four octagonal shafts, 10 ft. 5 in. high, separating the nave from the side aisles. The entire dimensions of the *chaitya* are: length, 45 ft. 4 in., width, 20 ft. The pillars are plain in design and except for the few religious symbols carved on them, and the rail-pattern executed on the *dagoba*, there is a complete absence of ornamentation in the interior of the shrine, and this feature adds to its solemn dignity. The ceiling had originally wooden ribs but these have now completely disappeared. The *dagoba* is rather slim in proportions and differs in general appearance from the *dagobas* of Kārle and Ajanta. Another feature of the carving of the cathedral is that it has no representation of the Buddha, such as is to be seen freely in the *chaityas* of later date—fourth-sixth centuries A.D. Caves XIX and XXVI of Ajanta are excellent examples of the *chaityas* of the late Buddhist period, because they belong to the fifth and sixth centuries A.D. respectively. In these temples the use of wood for the rafters of ceilings, or for the lattice-work of the *chaitya-window*, is entirely discarded; the pillars of the hall rise perpendicularly and the pyramid-shaped parapet does not appear. The pillars are round and they have spiral fluting with bands of floral or jewellery designs arranged at different levels in their height. The figures of the Buddha seated on a throne, or standing, are carved in a variety of poses (*mudras*) in the triforium as well as on the back of the aisles. Representations of the Master may also be noticed in niches carved on the *dagoba* itself. Both the exteriors and interiors of these temples are profusely adorned with sculpture, and the calm and solemn effect of the earlier shrines is replaced by magnificence and splendour. The carving taken by itself is exquisite both in design and workmanship, but its excess in the architectural scheme of the temples wearies the eye and also tends to disturb that tranquillity of mind which one would wish to feel in the interior of a religious shrine (Plates VIII *b*-IX).