Report On Elura Cave Temples and Bramhanical and Jaina Caves in Western India

Author(s): Jas Burgess
Publisher: Trubner and Company London
Catalog link: https://jainqq.org/explore/011091/1

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15445
REPORT
ON THE
ELURA CAVE TEMPLES
AND
THE BRAHMANICAL AND JAINA CAVES
IN WESTERN INDIA
COMPLETING
THE RESULTS OF THE FIFTH, SIXTH, AND SEVENTH SEASONS' OPERATIONS
OF THE ARCHÆOLOGICAL SURI'EV
1877-78, 1878-79, 1879-80.
SUPPLEMENTARY TO THE VOLCHE ON “THE CAVE TEMPLES OF INDIA."
C
1544
BY
JAS. BURGESS, LL.D., F.R.G.S, MEMBER OF THE ROYAL ASIATIC SOCIETY, OF THE SOCIÉTÉ ASIATIQUE, &C. ARCHEOLOGICAL SURVEYOR AND REPORTER TO GOVERNMENT
FOR WESTERS AND SOUTHERN INDIA.
1883
LONDON: T RÜBNER & CO., LUDGATE HILL.
1883. [All rights reserved.]

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PREFACE.
As the object of the present volume is sufficiently explained in the introductory chapter, very little need be added by way of preface to it. Like the preceding one, it is intended as a supplement to the volume on The Cave Temples of India, which was intended as a general resume of the whole subject, but required for its completion special descriptions, such as those contained in this work on the Elura Caves, and on the Brahmanical and Jaina Caves elsewhere in Westeru India. These three volumes thus complete the description and illustration of the Cave Temples in Western India, so far as the Archæological Survey of the Bombay Presidency is at present concerned; and though they are far from exhausting the subject, they may be considered as giving a fair presentation of it. The illustrations of the art and mythology which these works contain, it is believed, will be found interesting and instructive by a numerous and varied class of cultivated and scientific readers.
The inscriptions from Kanheri Caves contained in this volume belong rather to the preceding one; but the first arrangements made for their translation having failed, they were delayed, and finally undertaken by Dr. G. Bühler, C.I.E., of Vienna, whose able versions will be valued by scholars. To him and to Mr. James Fergusson, D.C.L., LL.D., F.R.S., whose valuable help and suggestions have been most readily afforded me, I owe mv most hearty thanks.
Materials have been partly collected for a full description of the Mediæral Temples of the Canarese Districts of the Bombay Presidency, especially those at Gadag, Lakshmeśvar, Lakkundi, Dambal, &c., which it is intended shall form the next volume of these reports; and that will probably be followed by another on the Architectural Remains in Gujarat and other districts in the northern parts of the Presidency.
JAS. BURGESS.
EDINBURGH, 14th Oct. 1882.

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CONTENTS
1.AGE
CHAP.
1. INTRODUCTORY---the Elurâ Caves II. THE BUDDHIST CAVES AT Elurî - the Southern Group
Caves I-VI. Caves VII. and VIII.
Cave IX. . . . . III. THE THREE Larger Buddhist Caves, or Northern Group
The Višvakarma Chaitya Cave, No. X. The Don Thâl Cave, No. XI.
The Tin Thâl Cave, No. XII. IV. THE ELUR BRAHMANICAL CAVE TEMPLES :
The Dås Avatara . .
The Kailasa or Rang Mahal V. ELUR DRAUMANICAL CAVES NORTH OF KAILÍSA:
Caves XVII. to XX. . Cave XXI. : Ramešvara . Caves XXII. to XXVII..
Cave XXIX. : Dumar Lena. VI. THE JAINA CAVES AT E.URÂ :The Indra Sabhà
. The Jagannath Sabha
Cave XXXIV. VII. THE CAVES AT BADAMI AND AITOLE VIII. JOGÉSVARI OR ANBOLI AND LOXAD CAVES
Lonâd . . . . IX. ELEPHANTA CAVES X. HARIÁCHANDRAGAD AND PÅrsa Caves
Patna Caves . . . XI. ANKAI CAVES-BRAHMANICAL AND JAINA. XII. INSCRIPTIONS BY PROFESSOR G. BUTLER, C.I.E., Vienna :
1. Yanachât Inscriptions . . . 2. Kanheri Inscriptions . 3. Daša Avatara Inscription at Elura
175

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LIST OF PLATES.
PAGE PLATE
I. VIEW OF KAILASA Rock TEMPLE AT ELURA FROM THE NORTH-WEST (Autotype Plate) Frontispiece. II. GENERAL PLAN OF THE ELURÂ CAVES AND PLAY OF CAVES XXIII, XXIV. III. Fig. 1, Section through the front of Visvakarma Chaitya Cave: 2, Side View of the Dagaba; 3, North Door of the Cave
. . IV. Figs. 1-5, Windows in Kailasa Hall; 6, Sculpture of Mahishamariini on the wall;
7, Ditto in the front of the Court . . V. FRONT OF THE RAMÉśVARA DRAHMAXICAL CAVE (Autotype) . . VI. THE INDRA SABHA JAIXA CAVE (Autotype) . VII. FAÇADE OF THE CAVES ON THE WEST SIDE OF THE INDRA SABE COURT (Autotype) VIII. FRIEZE IN THE VERANDA OF THE Dâdîui DRAHMANICAL CAVE Yo. II. IX. ROOF OF THE DRAHMANICAL CAVE AT ALHOLE . . . . .
X. DOOR OF THE SHRINE IN THE BRAIMANICAL CAVE OF JOGÉSVARI XI. THE TRIMURTI AND ARDDHANARI SCULPTURES ON THE BACK WALL OF ELEPHANTA (Autotype).
XII. ANKÂI JAIXA Caves Nos. I. AND II. (Autotype). . . At the end XIII. ELCRA BUDDHIST CAVES: Fig. 1, Pândara Târâ in Cave II. ; 2, Târâ in Cave VI.; 3, Pilaster in Cave
V.; 1, Sculpture on the right side of the shrine in Cave VI.; 5, Ditto on the left side ;
6, Dodhisattva in Cave IX. XIV. Elcrî: Plan of Bauddha Caves Xos. VII. and VIII. ; 2, Tin Thal, Plan of second storey. XV. EluRA : Plans of the three floors of the Dôn Thâl Cave. XVI. ELURA: Fig. 1, Transverse section of the Višvakarma Cave; -, Padmapâni in Cave IV. ; 3, Sarasvati
in Cave VI. ; 4, Pillar in Cave IX.; 5, Pillar in upper floor of the Don Thal Cave. XVII. DETAILS FROM THE VIŠVAKARMA CAVE: 1, Sculpture on the inner side of the gallery ; 2, Part of the
Triforium; 3, Sculptures from the Dagaba. XVIII. ELCRÂ: Fig. 1, Inscription on the Višvakarma Cave; 2, Pillar under the gallery in Višvakarma :
3, Sculpture in the Tin Țhål Cave; 4, Buddha and attendants, from the Bagh Caves. XIX. ELURA: Figs. 1, 2, Female heads from Visvakarma Cave; 3, Head of Avalokitesvara from the same :
4, Vajrapini, from the same; 5, Sculpture to the left of the shrine door in the upper storey
of the Tin Thál; 6, Panel in the Tin Tlal. XX. EluRA: Fiy. 1, Lodhisattvas on the right side of the shrine in the Tin Thal; 2 and 3, Bodhisattvas
from the Lagh Caves. XXI. ELTRÁ BRAHMANICAL CAVES: Fy 1, Pillar in the Das Avatara; 2, Shaft of Pilaster in ditto:
3, Siva in the flaming Linga; 4, Siva dancing the Tandava in the Das Avatára. XXII. ELCRA: Fig. 1, Narasimha and Hiranyaka-ipu ; 2. Bhairava, in the Das Avatara. XXIII. ELURA: Fin. 1, Transverse section of Kailasa ; 2. Section of the Das Avatara Cave. XXIV. ELURÎ: Fig. 1, Siva and Markandera-from the Das Avatara Cave; 2, The same from Kailasa corridor. XXV. ELCRÎ: Fig 1. XXVI. KAILASA: Fig. 1, Sculpture from the front of the Mandapa; ?, Kamadeva and Rati, from the Court:
3, 4, Lions on the roof of the Mandapa. XXVII. Turec SCULPTURES FROM THE NORTII CORRIDOR IN THE COURT OF KAILASA.

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LIST OF PLATES.
At the endXXVIII. KAILisa COLUMNS: Fig. 1, Pillar in the Hall; 2, Pilaster in the came; 3, l'illar in the north sil.
of the Court. XXIX. KAILASA: Fig. 1, Pillar in the Central area of Lankt vara ; 2, Siva in the front aisle; 3, Varaha on
the back wall of Lankesvara. XXX. LANKÉSVARA SCULPTURES: 1, Sürya; 2. l'ma; 3, Brahmi, Siva, and Vislu, from the luck wall. XXXI. KAILĀSA: Figs. 1 and 2, Panels on the south sidle of the shrine ; 3, Panel on the south side of the
basement of the Nandi Mandara. XXXII. Erur: Fig. 1, Plan of Caves XVII. and XVIII. ; ?, Plan of Cave XIX.: 3, Of Care XX.; ,
Cave XXII., Nilakantha ; 5, Of Cave XXVI., Janwa-a. XXXIII. Elur: Fig. 1, Pillar in Cave XVII. ; 2, Another pillar in Cave XVII. ; 3, Pillar in Rime-vara
(No. XXI.) XXXIV. El râ: Fig. 1, Saptamatris in Ramešvara ; , In Silakantha. XXXV. Eluri: Fig. 1, Brahmâ at the end of the verandah, Cave XVII. ; 2. Pillar in Cave XXV.; 3. 'm
of Kumbarwada Cave XXV.; 4. Plan of Cure XXVII. XXXVI. Eluri: Fig. 1, Marriage of Siva; 2. Dwärapulas at the corner of the shrine, in the Dunar Lund XXXVII. ELURA: Fiy. 1, Section of the Dumar Lena Cave; 2. Section of the Intra Sabha Jaina Cave. XXXVIII. ELCRA JAISA CAVES: Figs. 1, 3, and 4. Pillars in the central liall, upper floor, of the Indra Sabli
Cave; 2. Pillar in the small chapel of the Indra Sabha. XXXIX. ELURÂ JAISA CAVES: Fig. 1, Column between the verandali and hall; ?, One in the front of the
upper central hall; 3, Pillar in the west wing: 4, Sculpture of the opposite pilaster in the
west wing of the Indra Sabha. XL. ELCRA JAIXA CAVES: Fig. 1, Roof of the Manlara in the court of the Indra Subli; , .Imbiki
from a chapel; 3, Pillar in the Jagannath Sabha, ground flour : 4, Pillar in the last Jan.
Cave. XLI. Fig. 1, Gomatesvara from Indra Sabha; ?, General jolan of the Badâmi Caves : 3, Siva lancing from
Dadamni Care I. XLII, DÂDÂMI: Part of the Sculptures on the frieze in Cave III. XLIII. AIHOLE BRAHMANICAL CAVE : Fiy 1, Siva and the River Triad ; 2, Siva: 3, Varaha and I'rithivi in
the antechamber; 4, Malishamardini ; +, Siva dancing XLIV. JOGESVARI BRAILMANICAL CAVES: 1, Plan; ?, Eastern door of the great hall. XLV. LOXAD CAVE: Fig. 1, Left portion of the frieze on the façade; 2, Central door and figure ; 3.
Sculpture to the right of the facadle. XLVI. ELEPHANTA, &c.: Fig. 1, I'lans of Caves II. and III: ?, Plan of Cave IV. ; 3. Plan of Lonad Cave XLVII. Figs. 1-3, Plans of Ilarischandragad Caves; 4, Transverse section of Patna Jaina Cavo; 3. D. or
Sringar Chavadi at Patna ; 6, Door of Jaina Cave V. II. at Ankái. XLVIII. Pitxa CAVES: Fig. 1, Section of Sringar Chavadi; 2, Plan of ditto: 3, Section of Nagarjuna Koti.
4, Plan of ditto. SLIX. Arkii CAVES: Fiy. 1, Section of the Jaina Cave No. II. ; 2, Plan of er story; :3, Plani
ground floor of Cave II. ; 4, Plan of Jaina Cave No. III.; 5, Plan of Jain Cave X.
IV. ; 6, Plan of Bralımanical Cave lo. l. L. Ankar CAVES: Fig. 1. Roof of the Jaina Cave No. III. ; 2, Front of the shrine in the Brahman
Cave No. II. ; 3, Sculpture to the left of the entrance of the same. LI. INSCRIPTIONS: Yoz. 1, 2, Vânaghat large Cave Inscription; 3-9, Smaller Inscriptions; Kanh:11
Inscriptions Nos. 1-1.5.

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LIST OF WOODCUTS.
No.
1. The Southern Bauddha Caves at Elura, from a photograph
2. Dagaba on the Wall of Cave II.
3. Façade of the Viśvakarma Cave, from Fergusson's Ind. and East. Architecture
4. Interior of the Viśvakarma Cave, from a photograph.
5. Avalokitesvara from the Aurangabad Caves
6. Trisula Ornament from Amarâvati
7. Trisula Symbol from Sânchi
8. Vajra from Nepal
9. Vajra from China
10. Indian Vajra, from Elurâ
11. Visvavajra from Nepal, from Oldfield's Sketches from Nipal
12. The Dâs Avatâra Brahmanical Cave Elurâ, from a photograph.
13. View of Kailasa, from Fergusson's Ind. and East. Arch.
14. Eaves of the second storey of the Cave on the south side of the Court of Kailasa
15. Dwarf Figure from the roof of the gopuram of Kailasa
16. Shrine of the River Goddesses in Kailasa Court, from a photograph
17. Pillar in the front of Râmêsvara, from a photograph.
18. Pillars and Corner of the Shrine in Elephanta, from a photograph
PAGE
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LI 30
Ex
AURANGA
OF THE
Y
REPORT
ARCHEOLOGICAL SURVEY OF WESTERN INDIA.
AND
THE ELURA CAVES
OTHER BRAHMANICAL AND JAINA CAVE TEMPLES.
CHAPTER I.
INTRODUCTORY: THE ELURA CAVES.
N the preceding volume the description of the more notable groups of Buddhist Rock Temples, as given in the work on The Cree Temples of Iulia, was considerably amplified by additional details and numerous illustrations, which will enable the architect and student to form a tolerably accurate idea of the style and character of the plans and ornamentation, as well as of the sculptures of these ancient and interesting works. And in addition to these, the facsimiles and translations of the inseriptions will afford fresh materials of a trustworthy character for the epigraphist and philologist, with a certain amount of important information of historical importance. But even that volume by no means exhausts the illustrations that might have been given, especially from Ajanta, of the artistic decorative work on columns, doors, windows, and friezes, or of the extensive mythological sculptures found in such rich abundance there and at Kanheri.
The intention of the present volume is to apply the same process to the illustration of the remaining Rock Temples of Western India. The principal of these are-the whole of the well-known and magnificent group at Elurà, consisting of splendid representatives of the three classes-Bauddha, Brahmanical, and Jaina Cave Temples; the Brahmanical and Jaina Caves at Badâmi, at Aihole, at Ankai Tankai, and at Patna; and the Brahmanical Caves. chiefly at Jégééwari on Salsette Island, at Lona), and at Harischandragad. To give anything like a complete illustration of these Cave Temples, or even of those at Elurà alone, however. would occupy double the number of plates that can be given in this volume; but with those in The Cure Tempdes, as here supplementel, the reader my form some adequate conception of the characteristics of the different groups, and of the variety of architectural and mythological sculpture that is presented in these early monuments of the religious
A

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2
ARCHEOLOGICAL SURVEY OF WESTERN INDIA.
faiths of India. "All commentary," remarks M. Baudrillart, "grows pale before the magnificent ruins of the temples of Eluri, which, more than any other ruins, confuse the human imagination. At the sight of these astounding edifices... the development of the plastic arts and of public religious luxury amongst the Hindus receives the most striking attestation in the magnificence of these temples, in the infinite diversity of their details, and the minute variety of the carvings."
In this volume it seems preferable to treat the Elurâ Caves as a whole, and to illustrate the temples found there-Buddhist, Brahmanical, and Jaina-as a series complete in itself. In The Cure Temples, three separate chapters were devoted to the three sections of this group, illustrated by about thirty-one plates, and to each section was assigned its relative place among the other excavations of the same character. In the supplementary information to be now given such a distribution is no longer required, as it is only proposed to amplify the illustration of the Elurâ Caves, as given in the former work, in their topographical order from south to north-which, as it happens, is also that of their religious character, and pretty nearly of their relative ages. This is the arrangement adopted by Dr. James Fergusson in his Rock-Cut Temples of India, who was the first to point out the religious characteristics of the different groups, which this mode of describing them brought to light.
It is only thus by treating of the Elurâ group as a whole that an adequate idea can be obtained of this series of cave temples, which is probably the most magnificent and most interesting in India. The only other group that can rival it in interest is that at Ajanta." There, however, the caves all belong to one religion, and beginning at a very much earlier period than anything found at Elurà, carry on the history of the Buddhist religion and architecture for nearly 1000 years; and though the series at Elurà commenced nearly at the time when the excavations at Ajanta ceased, an immense additional interest was added there by the introduction of temples of a novel form belonging to the Hindu religion, and subsequently by others of the Jaina faith, affording a varied picture of the mythology of India during the period of its greatest vigour, such as is nowhere else to be found. Moreover, besides the interest attaching to the individual members of the group, which in themselves are probably equal to any found elsewhere, the whole culminates worthily in the Kailasa, which is certainly the most magnificent rock-cut temple in India, and by itself is sufficient to give a dignity and importance to this group beyond any other series of rock-cut temples which India possesses
At Ajantà one feels that there is a homogeneity in the mythology represented in the painting and sculpture throughout the whole range of the eaves; they are all manifestly the work of one sect as it developed its art and its mythology. At Kapheri, also, we have the same thing; but while at Ajanta the art rapidly develops in richness, at Kanheri the architecture is, from the earliest to the latest example, exceedingly plain and unadorned; by the style or order of the pillars and the arrangements of the caves, however, we readily see that they are spread over a long period of time, and the mythological figures mark the progress of the school of the Greater Vehicle, but there is no such marked advance in decorative sculpture as we find at Ajantâ. The two groups differ in the same manner as
1 Histoire du Lure, Privé et Public, depuis l'Antiquité jusq'à nos Jours.
See Cave Temples, Bk. II., chap. iv, pp. 367-384, and plates lvii to lxv for the Bauddha Caves; Bk. III.. chap. v. pp. 431-463, and plates lxx to lxxxiv for the Brahmanical Caves; and Bk. IV., chap. iii, pp. 495-502, and plates lxxxvi to xcii for the Jaina Caves.

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ELURA CAVES.
the quarter of a royal city containing the palaces of the king and his nobles does from the suburbs of the working-classes.
The Elura Buddhist Caves on the other hand differ in many respects from both these groups; they are on quite as large a scale as any at Ajuntà, but differ in their arrangements, and though they contain abundance of sculpture, it varies markedly both in its subjects and in details from that at Ajanta, while the ornamentation is much less elaborate. They differ also from the Kanberi group in their vastly larger dimensions, their plans, and in the greater amount both of sculptured ornamentation and mythology, but especially in the character of the latter. Thus, while the dagoba is a frequent object of representation in the bas-reliefs at Kanheri, it only occurs once or twice at Elurà, and then in very small examples, and in positions by no means prominent. Nagu-hooded figures, so often represented both in the sculptures and paintings at Ajautá, as well as at Amaravati, Bōró Búdúr, Sânchi, and Bharhut, are not found here; and while both at Kanheri and Ajanța the Buddha is represented without any supporters or only with two, at Elurâ he is most frequently attended by six, eight, or ten of the Bodhisattvas, whilst saktis or décis-later additions to the Bauddha pantheon-figure much more frequently and prominently on the walls of these caves than they do at either of the two groups just named. When we compare them again with the sculptures on the stúpas at Sanchi, Bharhut, Amaravati, and Boro Bûdúr, we note still further differences, and are led to consider whether these variations may not be very largely due to the difference of sects or schools into which the Buddhists were very early divided, and whether each of the greater schools-which were probably to a large extent practically local-may not have developed much that was special to itself in its mythology or the modes of representing the beings in the pantheon. This would help to account for differences in the characteristics of the sculptures at Amaravati, Kanheri, Elura, Ajantà, and Sanchi. True, much of this variety is due to differences of age; and the lack of sculpture in the Junnar, Nasik, and other caves, is doubtless to some extent owing to their early age; but the recent discovery of an inscription of Vasishthipatra Palumávi at Amaravati, shows that the difference between the sculptures there and at Nasik and Karle, where other inscriptions of the same king are found, is due to other causes, such as we have just indicated, quite as much as to difference of age. Moreover, we learn from I-tsing, a writer of the end of the seventh century, that the Sarvâstivadin schools were less honoured in the Maratha country than in Magadha, but that the Sammatiyas were particularly respected, In the south the Mahasthavira school was universally honoured; and in Eastern India each of the four schools (Mabásanghika, Aryasthavira, Sarvastivädin, and Summativa) had its adherents in different districts. It seems, moreover, to be more than a mere surmise that the varieties in sculptures are largely owing to the various schools that constructed different stúpas or excavated special groups of caves, for, on comparing the sculptures in these Elura Caves with the mythology of the Yogacharya school of the Mabayana, founded by Aryasanga, we find the agreement so marked that we may conclude they were the works
1 See the magnificent illustrations of Boro Büdür, published by order of II. E. the Mmister of the Dutch Colonies (Leide, 1874).
Beal's Buddhist Lit rature in China, p. 65. The Sammatiyas were followers of the Himayana, and were split into three schools. Most of the early schools were, however, afterwards more or less influenced by the doctrines of Nagarjuna and Asanga.
3 He is said by Târânatha to have lived 900 years after Buddha, and by others 100 years after Nagarjuna. perhaps early in the fourth century, Vassilief, Bouddh.. pp. 31. 52, 65: St. Julien's Mem, des Cont. Orcal,, tome i, pp. 105, 269.
-

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PLATE !
Facing
Page 4
GENERAL PLAN
ELURA CAVES.
7. Bu

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BUDDHIST CAVES OF ELUR.1.
hârwadi-are on a considerably laryer scale and more magnificent in their arrangements, but they seem to have been pushed in at a higher level than the adjoining Caves I., III., itd VII., and were probably contemporary with the great Chaitya Cave--the Višvakarmawhich with two or three others was probably excavated during the seventh century A.1). Yos. VIII, IX., and XI. were probably even later than this, and may be considerel its marking the expiring efforts of the Buddhists in Western India.
Caves Xos. I.-II. The first six caves have been described in some detail in The Cure Temples (.368 375, and plates lvii to lxi). The accompanying woolcut (No. 1) presents a view of Caves
G
-..
.
No 1. --The Southern Tanha (vex at Charlotta peterpoh.
Nos. II. to V. Cave I. is hidilen by the mass of debris in front of it, but it is just under the right siile of Cave II., of which the door and larye window to the right of it are seen near the right-hand side of the view. Cave III. is at a lower level to the left. Cave 1'., with the fragments of a large chapel belonging to it on the south sile (of which the whole west half has fallen away), extends from over the left side of Cave III. to blund a parapet wall recently erected to afford a safe passage along the face of the car. The interior of Cave IV., which is very much ruined, is seen under the chapel of Care V.
Sculptured in a large panel on the inside of the front wall of Cave No. II. is the figure represented in fig. 1 of plate xiii, where we have either l'imari the mother of Padmapáni or some other of the Taras. Lyth her two attendants have flowers in their hands; and here, though somewhat abruled by time, are six Vidyalharus or cherubs over the heal of the goddess. In her right hand she probably hell up a mile or rosary, but it is now obliterated. Behind the head is the aureole or bhuinmal, which indicates that she is a celestial personage; and in her cars are large carrings of different forms. Ou the front of the mukutu or headdress is a digaba, which must be taken as her chinhu or cognisance: and as it is also associated with Akshoblova, the second Jõni Buddha, we may

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ARCH.EOLOGICAL SURVEY OF WESTERN INDIA.
WA
.
.
perhaps identify her with Lòchanî : in later mythology, however, Lóchani has also an upright wejra on the lotuses which she holds in each hand.
In the back of this cave, No. II., is one of the few examples of a dâgaba among the sculptures at Elurâ. It is a small bas-relief on the wall by itself, without any worshippers
or other accessories, and is represented in the accompanying woodeut (No. 2). The style of it is plain, but the type is not an early one.
In Cave IV., the hall of which is almost entirely ruined, in the left end of the aisle or antechamber that crosses in front of the shrine and two cells that are in the back wall, is a sculpture, represented in fig. 2, pl. xvi, where we have Padmapâni or Avalokitesvara seated with his feet on the lotus. He has his proper cognizances, having at small deerskin over his left shoulder, holding the rosary or målå in his right hand, and attended as usual by two female dêris--one with a bottle and rosary, and the other with only a flower. Above, on each side, is a figure of
Buddha, the one standing and the other Yo 2.-Diyata on the Wall of Case II.
seated cross-legged in the uthaya mudra
or attitude of blessing. At the entrance to Cave V., on the right side, is the pilaster represented on plate xiii, fig. 3, in which the amount and character of the carving remind us of the richly sculptured pilasters so frequent at Ajanta.
The antechamber to the shrine of Cave VI. is richly sculptured. The back wall and shrine door were represented in Cave Temples, plate lxi; and to this is now added the sculptured compartments on the end walls of the same room. The principal figure in the left end seems to be Pândarâ or Padmanî (plate xiii, fig. 2), the sakti of Amitabha and mother of Padma pâni, who acts the part of a dwarapala on the left side of the shrine door. She hus a lotus stalk in her left hand, and wears a high jatâ beaddress; her locks descend over her shoulders, and a small deersk in lies over the left one, as is often the case in figures of Padmapâni. She is attended by Vidyadharas on clouds, and by a small female figure ou each side. The headdresses of these small figures, and of most others in these caves, is a sufficient indes of their late age. Over the panel is a torana, dipping in the centre, and with makaras* at each end of it, over the capitals of small pilasters.
-
.
.
1 Cure Temp. 372, anl plate lvii.
? It should be noticed that while much of the sculpture at Büro-Bůdur hears a close analogy to that of Amaravati and to the sculpture and paintings of Ajantà, the Bodhisattvas and Buddhisaktis are entirely absent at the two former places, and even at Ajanta we find only the two leading Bodhisattvas represented. Hence the futility of Dr. Leeman's attempt to distinguish the Jñáni Buddhas.-Boro-Brdour, pp. 116-171.
9 The wukura is a fabulous animal, described as having an elephant's trunk, a snake's tongue, and a crocodile's teeth.

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DUDDHIST CAVES OF ELUR1.
On the right-hand wall of this antechamber, facing the figure above described (pl. xiii, fig. 2), and close to the dwârapala, on the right side of the door, supposed to represent Manjusri, is the sculpture given on plate xvi, fig. 3. The right hand of the central female figure is broken, but the attendant peacock and the pandit reading at her right, seem sufficient to point her out as Sarasvati,' who with the Hindus is the goldess of learning and eloquence, and with the Buddhists is one of the wives of Mawjusri, and is perhaps the same as Lochani.
On the right side of the shrine is a panel containing three figures (plate xii, fig. ) on lotus scats. The left one may easily be identified as Avalokitesvara or Padmapåņi, with the lotus and rosary, and the deerskin over his shoulder; also a small figure of Amitabha Buddha on the front of his headdress. Whom the other two figures respectively represent is not so clear; the central one is very fat and holds what resembles a small book in his left hand, and some round object in his right, while his headdress is unlike any other. He has rich armlets, heavy earrings, a necklace and janci or sacred thread, as a Brahman. The third figure holds a small flower in his right hand, wears a high dress with a dâgaba on the front of it, a necklace, long ear-pendants, armlets, bracelets, and a thick cord worn as the janvi. Probably this is Mañjusri. All three have aureoles behind their heads. On the left side wall of the same room is a similar compartment, which contains first, to the right, a male figure with rich headdress, earrings, necklace, and janri ou bended knees, and attended by a female chauri-bearer presenting an offering. Behind bim is a female figure, probably his wife, also with rich turban and enormous earrings, on her knees and with her hands in the attitude of adoration. She is attended by a female dwarf, who bears a box or tray with presents, and over her head is a bird apparently placed as a sort of cognisance. Behind the female, again, bends on one knee a male figure with necklace and Brahmanical cord, holding something like a long bay or purse. Close to him is an elephant's head and fore-foot, with a small figure representing the driver leaning over its brow. This must be intended to represent some wealthy family making an offering to the care or its priests: it may be a prince with his wife and Diwan.
On each wall, above these panels, are three rows of three Buddhas each-all in the dharmachakra mudrá, as is also the great central figure."
CAVES VII. AND VIII. Plate xiv, fig. 1, gives the plans of Caves VII. and VIII., on the same scale as the Caves on plate lvii of The Cave Temples, of which they form the continuation on the north side. but are not marked on the general plan of the caves (plate ii) in consequence of their being under Nos. VI. and IX. Cave VII. is a vihara, just under No. VI., which has never been finished, and is now much ruined. It is 51, feet wide by 13 feet deep. The roof was supported by four square pillars, but three of them are broken away. In the back wall five cells are commenced, of which only two at the right end are finished. There are also three
1 She is a favourite with the Buildhists everywhere; in Japan she is called Benten, and in Tibet, Drang. chan-ma.- Asiat. Res., vol. xx, pp. 515, 535.
2 Observe the jewelled crescent on the left side of each turlan.
3 This mulra, so prevalent cverywhere in India, is either not represented at all at Doro-Dûdûr, or depicted in a somewhat different form.-Bôro-Boedoer, plate viii. The other mulris also differ slightly, e.g., in the Bhumisparsa, the right hand does not come so far over the knee as in Indian images.
4 See Cure Temples, plate lxi.

Page #25

L
ITF WESTERN INI.
intim in the right wall, imi tour in the lift. The thresholla of the doors t. This at 10-tally high--the tir e in this two that the title, being 19 to 20 inch, high. Through the wall of the tirst well, in the left side, an opening has been broken into this so. VIII. The front wall is not untiuise, the door in the milele only kurvins Ime hw'n rotit, in the rock wing litt of considerable thickness on the north sile of it, through which another outrine has bn mule at the left corner, with a descent of two or thin steps in front and it wide passage on the inter side. It the right, or southWest Porner, in trener is also bruken into the ball from the foot of the stair, which there SC to Cu 11.
Thrra n ts of Civ . IIII.. itsemmel in The Chorr Timples (p. 376), will be better understood by the plan (pl. xiv), which it one shows its resemblance to the Brahmanical ( s, whils the Ravintola Khai and Ramesrart, and also tu the Aurangaban Bauh. Caves, -it pritty clear implication at it latu dute. The two pillars in front of the shrit bring of the El. p antat top its in Cave II., is it further proof that it is one of the lottest Bithist scavations her. The other two pillars, lividing it from the outer apurtmot, have high quru vess; the shutts lust 32 flutes, in the capitals are square, with pendent curs itt the corners, curved with scroll-leat pattern. The shower columns in front of the little chaped on the north side of this room are also of the El. planta type.
WEIN This , if lot an ippenlay of lave 11. or. rather to it small eave in front of its twrth wines. now run by the falling away of the rock (see plan, Cum Temples, pl. 1x). is quite ditli-rent from any w lsewhere met with. It forms a
of story to the lit, but in of it more with two pillars in room, and is quite in the site tul hot rehtetur. in sculpture, as Cave III. Over the front pilit kit sulpure Lan, low relutare or lower member
ng al into compartment by their with rates the compartments alternately containing :1 alin und : Latin Bubble with attendants. On the friez berrired the cha
r ts, atlitt :: higher level other two-rach row with halt etter at the l ate matin ter wit is it single one. Each of this one by : tiger of Bulha, and o n the projecting members on which the il cavaliminy -maller human tims. Visit wh corner, is a Bulbisattva with fin a nts. One of the larr
i n platiti t. til hawaidh 23 tot by 10 .. with two attached pillars on the vark wall, living it into the compartment. The autres con contains a Budala with four pembuatan the one total the wattendant Bulhisattvas; the right side
--probabis Maumi -- ' . pl. viin, tig. . The other is Avalokitesvara. - with a female attints id faut wel!

Page #26

PLATE 111.
ELURA.
SECTION THROUGH THE FRONT OF VISVAKARMA CHAITYA CAVG
Seal tod
?
2 DAGOBA.
3 NORTH DURCF VISWAKARMA CHAITYA CAVE
M
HLUT.
Pa
PLAN.
J. Burger.

Page #27


Page #28

ELURA: THE VISVAKARMA CHAITYA CAVE
CHAPTER III.
THE THREE LARGER BUDDHIST CAVES
VISVAKARMA CAVE, No. X.
CAVE X. is the great Chaitya rock temple, the only one of the kind at Elurâ, and locally known as Visvakarma's, or "the Carpenter's shop." It is a splendid temple, with a fine façade and large open court in front, surrounded by a corridor, and worthily concludes the series of Buddhist Chaitya caves, which, taken altogether, are perhaps the most interesting group of buildings or caves in India. We can now trace the sequence of them from the early wood-fronted examples at Pitalkhora, Kondine, and Bhaja, through the stone-fronted caves of Bedsâ and Karlê, to the elaborately decorated façades of the two latest at Ajanta, till at last it loses nearly all its characteristic external features in this one at Elurà. The earlier ones are all certainly anterior to the Christian era -some probably as early as 200 or 250 B.C.-and as this one can hardly be dated before 650 A.D., the series extends in nearly unbroken continuity for about nine centuries, During this long period we can easily trace the progress from the great open front of a cave covered by an external screen. first in wood, and then in stone ornamented in wood, till subsequently we find it constructed entirely in stone with limited dimensions for the opening, and at last the great horse-shoe window was contracted into the triple Venetian window of this Viśvakarma Cave, as represented in the annexed woodcut (No. 3); and the screen in front had entirely disappeared. So altered, however, is it from the grand simplicity of the great arched window at Karle, that if we had not all the intermediate steps by which the changes can be followed out we should hardly be able to trace it back to its original form, or to feel sure that it was the same architectural feature.
No Façade of the Visvakarma Cave!
The interior of this temple is 85 feet 10 inches long inside, by 45 feet 2 inches wide.
1 From Fergusson Ind, and East. Arehat., p. 12.
B

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10
ARCHEOLOGICAL SURVEY OF WESTERN INDIA.
and 33 feet 11 inches from the floor to the under edge of the stone ridge board. The pillars that separate the nave from the aisles are 14 feet high, and the triforium 4 feet deep. Its arrangements, however, may be best studied on the ground plan and details given in The Cave Temples (plates lxii and lxiii). To these are here added a longitudinal section (plate iii, fig. 1) through the front of the cave, showing the corridor on the right hand or south side of the court below—with portions of the sculptured panels on the back walls-- the wide balcony over the entrance portico, and the deep gallery above the front cross aisle, which advances considerably into the cave,--differing in this respect from the earlier Chaitya temples in that the great arch, besides being altered in front and the window divided, is of much less depth than usual and than the gallery; and a transverse section (plate svi, fig. 1).
The narrow triforium over the pillars of the nave is divided into compartments, each containing a figure of Buddha, seated with his hands in the dharmachakra mudra, with various groups of attendants (see plate xvii, fig. 2); and on a band below is a line of rollicking dwarfs or gana, similar to what we find on the basements of the Bàdami Brahmanical caves of the sixth century, and on the Vaishṇava temple at Aihole. Above this triforium the ribs of the roof spring, each from a small Någa figure, the alternate ones being males in an attitude of adoration, and the females each holding a flower in their right hands. On the inner side of the gallery, the band of gana is continued, but the upper and broader portion (see fig. 1) is divided into a large central and two smaller side panels,
each filled with standing figures, which it is difficult to identify with any scene in the Bauddha legends.
The pattern of the pillars is also shown in the section (plate iii, fig. 1), and one of the pair under the gallery, which are more elaborately carved, is drawn to a larger scale on plate xviii, fig. 2. At the end of the verandah that passes the entrance is a chapel, in which may be seen the central figure-that of Avalokitêśvara or Paulmapåņi, and to the right, that of Dharma or “the law," always personified as a female, with four arms, bolding a bottle, a trisala, and a rosary. The figure on the other side is also a female, but with only two arms.
The side elevation of the dagoba is Vu. t.-Interior of the Visakarnia Cave, from a photograph. 814
given to the same scale in plate iii, fig. 2,
showing the difference of its style from those of the earlier caves, and even from those of Ajanta. It is 26 feet 10 inches high, and the circular part of it is 15 feet 6 inches in diameter. The capital, no longer square as in all the early examples, is cut up by numerous offsets, like the shafts of some of the pillars in the large cave at Badâmi. The body of it is carved round about with alternate broad and narrow panels (plate xvii, fig. 3) containing figures of Buddha
tal-1
1 See Vol. iv, plates xv, xvii, xxxi and xxxvi.

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ELURA: VISVAKARMA CHAITYA CAVE.
seated with his feet on the lotus, his hands in the dharmachakra mudrů, with and without attendant chauri-bearers. On the front of it a large mass of rock, 16 feet 10 inches high, is left as a frontispiece, and is carved with a huge image of Buddha, 10 feet 11 inches from the feet to the top of the head, seated with his hands in the favourite dharmachakra mudra, with the usual pair of Bodhisattva attendants, Avalokitesvara and Manjusri. The accompanying woodcut, No. 4, shows the front of this dagoba. Two pairs of gandharvas with offerings appear above the Buddha, on an arch the upper part of which is also carved with the Bolhi tree.
The simple but elegant side-door into the left side aisle is represented to scale in fig. 3 (pl. ii). The central door has small figures in pairs all round the architectrave, with Någa guardians at the bottom on each side. Outside the architrave is the usual leaf-border.
In the balcony in front of the window is a portico on each side, with cells behind." The stair lands in the one on the north side, and opposite the landing, over the door of a cell in the east end, is the same group of two males and a female, which we meet with again in the Tin Thal (pl. xviii, fig. 3). On the right side of this same door is a standing figure of Buddha, with two small attendants, and on the left a figure seated cross-legged, and another with the right foot down, wearing a necklace and holding a lotus. There are also numbers of figures of Buddha on the walls, some in little arched niches.
A recess on the right side of the front window contains Avalokitesvara, with two female attendants and gandharras. His head is represented on plate xix, fig. 3; and on the frieze of this recess is a fine group of dwarfs. A similar recess on the north side contains Mañjusri. In the north end of the balcony is a female figure in the centre, holding a lotus, and eight figures of Buddha in line above; six figures with the lotus, and seated with one foot down, are on her left, and five on her right-one of them, a female, with four arms. On the south side is a recess in which is arother statue of Avalokitêsvara with female attendants.
To the west of this was a portico similar to that on the north side, which has had two pillars in front, but they have fallen away along with the roof. In the back are three cells, and one in the east end, with several seated and standing figures, also a four-armed standing figure (pl. xix, fig. 4), differing considerably from the usual ones of Bodhisattvas, but which may compared with that of Padmapâņi, represented in the annexed woodcut (No. 5), from the Aurangabad Caves. This Elurâ one evidently is meant for Vajra påņi, and it is to be observed u. 5. - Avalokito vara from the
Aurangabal Caves that while he holds a vajra in his left hand, the end of another is represented over his head, as if emerying from it. The other symbols he holds are too much injured to be recoguised. This figure is possibly an early form of Vajrapáni, as now represented in Tibet, in the terrific aspect of Chyag-rdor—"the subduer of evil spirits."
1 Cure Temples, pr. 379-381. ? See the plan of the balcony in The Cure Templex, plate Ixii.
Report. vol. ill. 80. 4 Schlagentweit's Buildhism in Tibet, p. 114. Curiously enough, the Luddhists have got a version of the Hindu story of the churning of the ocean for the Amrita. which was given in charge to Vajrapuni. but stolen by Rahu.

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12
ARCHEOLOGICAL SURVEY OF WESTERX IXDIA.
Next to this is a figure of Buddha, with Padmapâņi and Vajrapâni as supporters, the latter of whom holds up the vajra in his right hand, and has an opening flower-bud in his left. The other figures are too numerous to describe, but the sculptures here and in the Tin Thâl alone would form a most important contribution to a Bauddha pantheon. Two of the heads of female figures in this verandah are represented in figs. 1 and 2 of plate xis. These may be compared with those in other illustrations in this volume, and with the heads from Aurangabad caves given in volume iii, plates xlix, liii, liv, and lv. The vajra or fulmen is so frequently represented in the sculptures here that it seems
to demand a word of explanation. In Nepål it has become a favourite symbol of Buddhism, and is constantly sculptured about their temples. In its simplest form, with only one set of prongs, it would almost seem that possibly it may have been derived from the trisula
symbolso frequently repreNR NPN
sented at Amaravati and Sanchi,
and figured in the accompany
Yo 7.-Tribula symbol ing woodcuts (Nos. 6 and 7). Amaravati.
from Sanchi.
It is usually, however, represented with two similar ends, as in the accompanying representations of sculptured vajras,(No. 8) from Nepal, and (No. 9) from China, and of the usual form found at Elurâ (No. 10).
KS
22
No. 6.-Trisula ornament from
No S. -Vajra from Nepal No. 9.-Vajra from China.
No. 10.-Indian vajra. though here it is also found with only one end. It is to be remembered, however, that the trisula is also a Brahmanical symbol (see pl. xxx, fig. 3), and so also is the vajra.
But in Tibet and Nepal a sort of double vajra, having a hooked prong on four sides of the central one, is often made of metal, richly moulded and gilt, and is placed on an altar or a Dharmadhůtumandula, in front of or inside the temples, where it is an object of worship. This is called a Viscavjra, and the accompanying woodcut (No. 11) represents one of these instruments, about five feet in length, made of copper by one of the Nepal
râjas in the middle of the seventeenth century, and placed in front of the great temple of Adi-Buddha at Svayambhunath. The vibru is the symbol of Amoghasiddha, the fifth Jūâni Buddha, and of his Bodhisattva Visvapâni.
Every lama in Tibet and every Bandya priest in Nepal No. 11.- Vavavajra from Nepal! must possess a small vara, which they use when repeating their prayers and at all ceremonies of importance, as at marriages, the initiation of novices, &c., and in the latter country the priests receive the title of Vajra-Acharyas from the use
From Oldtield's Sletche from Vrpúl, vol. 1, p 220.

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ELURA-DOX THIL CAVE.
of this instrument. It is the symbol of Akshobhya, the second Jnani Buddha, and of his Bodhisattva, Vajrapâni.
In this balcony there remains to be noticed the only inscription at all of an early date found among the Bauddha caves here; but it is only the mantru of the Maha yâ na school, carved in characters of perhaps the eighth or ninth century, probably about the time when the figures over which it is found were inserted (see pl. xvii, No. 1). It reads--- Ye dharma hétu prabhará hêtum, téshám tathagato, hyavadattéshâm cha yô ni
rodha, érain rúdi maluisramana[1.] "All things proceed from cause; this cause has been declared by the Tathagata ; all things will cease to exist; this is that which is declared by the great Sramana (Buddha)."
Though to this mantra is ascribed the conversion of Maudgalvậyana and Sariputtra, the two chief disciples of Buddha, it probably owes its origin to some of the early Mahayana teachers. It was found on a stone slab and on several clav seals at Sarnath, near Banâras, and on a copperplate in the stúpa excavated by Dr. Bird at Kanheri, on numerous clay seals discovered at the same place by Mr. West in 1953, and the first part of it is given in a short inscription cut into the square body of a dagoba in bas-relief on the right-hand side wall in the court of the great Chaitya cave. This celebrated philosophical formula bas also been found in inscriptions from Afghanistan, Tirhut, Burma, Singhapur, and Java, and is well known in the Bauddha literature of Nepal, Tibet, China, and Ceylon.
The Dos THÂL CAVE, Xo. XI.
The next cave is the Don Thål, so called because it was long supposed to consist of only two storeys. In 1876, however, the lower storey was excavated of the earth which had completely buried it. The plans of all three floors are given in plate xv, from which it will be observed that the upper storey has been carried farthest into the rock, though apparently it never was nearly completed. It may be doubtful whether it was originally intended to form cells in the blocks left at the back of the verandah, but several cells have just been commenced in the walls, whether for residence or small chapels is not quite clear. The second storey consists only of a verandah with eight massive square pillars in front, at small shrine at one end, and three larger oues in the back, the central one (otherwise the smaller) having a room in front with two square pillars. The larger shrines on each sidde
Fue's Travels in Turtary, &c., vol. ii, p. 221; Oldfield's Slotelue in Vend, vol. 11. 11. 201: Holgoll Essays, Ir. 11. 63.
This was the case even in Fah-hian's time, who speaks of it as "the gol len mace."--Beal's Falchian. . 94: and conf. Julien, Ném. curls Cunt. Oecil., tome i, m. 310, 131, 319; ii, 114.
The following are the principal references on this formula :-Juar. As Sr. Brny, vol. ir. pr. 133, 11. 286, 713 ; vol. 5, pp. 157, 158, 658; vol. x, T. 95 ; vol. xvi, 11. 78, and plate i; vol. xvii, pt. 1, p. 247, and plate x; isiut. Rrs., vol. v, p. 131 ; vol. xx, p. 52, or Feer's French translation in Am. J. Guimt, tome il 11. 155; Hodgson's E381178, 1st ed. p. 158, or 2nil el. p. 111; Harily's dan. Buill., 2nd el. p» 201 (1st ai. p. 196); Wilson's Arum Antipa, p. 51; Birl's Historie H arris, P. 64: Crawful Hint. f the Indian Archipelago, vol. ii, p. 212, and plate 31, which strongly resembles this Eluri example in the character of the alphabet ; Schlagentweit's Builhism in Tilut, r. 17, or French transl. r. 13; Deal's Romantic Lepwl, p. 329: and Wong Puh's Memorial of Sakya Bwllha in Jour. R. A. Soe, vol. xx, p. 166; Burnouf's Intl. à llist.lu Bulill. Inul., 2me el. p. 308 note (1re el. p. 315); nil Lutus, 1752-526: Kern, Hist, in Bowh. in Rr. l'Hist. des Reliy., tome v, p. 149; Sykes, in J. R. Ax So, vol. xvi, 11. 37-53, and jilates i-tii; West, Jour Bom. B. R. xx. Soc., vol. vi, pp. 158, 159, and plates v and viia-1.
+ Jour. Benn. B. R. As. Soe, vol. ri, p. 1, No. 8.

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ARCHEOLOGICAL SURVEY OF WESTERN INDIA.
contain colossal figures of Buldha seated cross-legged with the soles of his feet turned up, but here, as in the Tín Thål also, each side of the chamber is carved with tall attendant Bodhisattvas, which will be more particularly noticed below. The ground floor consists of a verandah about 89 feet in length by 6! wide, and 8 feet 4 inches high, with seven square pillars in front, though it was intended to add an eighth at the left end. In the back wall of this verandah are three rooms or shrines, two of them quite unfinished, but the central one, containing a cross-legged image of Buddha with Padmapâņi and Vajrapàņi as attendants, one on each side.
The court in front is about 102 feet wide by 45 deep, with an approach on the west about 50 feet wide. In the left, or north-west corner of this court, is a large irregular room with a bench round the inner walls of it, and beside it is a chapel containing two images and attendants--that on the back or north side being Avalokitesvara seated on a simhasana or lion-throne, with a female figure seated cross-legged on each side of him--the one on the left having four arms. Above, on each side, are seated figures. To the left is another four-armed déri-probably Dharma-with a rosary (mála) and a flower. On the right siile of the room is a headless figure of Buddha, behind whom stand two Bodhisattvas, and at the sides chauri-bearers. There are also other figures on the walls.
On the right side of the entrance to the court is a smaller, rudely cut chamber, and there are some others quite filled up with earth.
The verandah of the first floor above is 1021 feet long by 9 feet wide and 10 feet 3 inches high, with three shrines in the back, and two cells-one of them only begun. There is also a fourth shrive at the south end, having an arched door. This last contains a figure of Buddha, seated cross-legged on a high square block; above his shoulders are two gandharms or Bauddha cherubs, while Avalokitesvara or Padmapåņi' and Mañjuśrî or Vajrafråni' attend him as chauri-bearers. By the side of the latter stand three male figures with
1 Avalokitesvara, Paumapani, or Karunârnava---in Tibetan Pyan-ras-gzigs-vang-phyug (pronounced Chenresivanchug)—is the "on-looking lord." called also Abhayamada—"the remover of fear," Abhyutyataraja-"the
reat august king," and in China Kwan-yin. He was apparently unknown till about the third century, but is mentioned as a hearer in the Salilharma-pundarika Satra (cir. 300 A.D.), of which Maijusrî is the mythical author.
1 valokitesvara is held in special reverence in Tibet as the protector of the country; and the Dalai Lamas are recarled as his successive incarnations.-See Reports, vol. iii, pp. 75, 76; Deal's Fuh-hian, p. 60; Ind. Ant., vol. viii, pp. 219-253; Care Temples, p. 357, &c.
? Vajrapani is one of the names of Sakra or Indra, the god of thunder, who with his bolt (raji) lays the enemies of Buddhism, and, in Nepal, is the Jhini Bodhisattva of Akshobhya. He is represented in a blue robe, and is called in Tibet Lay-na-rdo-rje or Phyag-na-rdo-rje. Hodgson calls him "the won of Vajra-attva Luddha," who is the Magnus Apollo of the Tantrikas (Esrtys, 2nd ed. pr. 15 and 17, note; or, 1st m.in. 23 anl 25, n.) The Y achara school make Vajrapiņi identical with Manjusri; but in China they seem to be resanlei as distinct personages, called respectively Chi-kin-kang-shin and Miao-ki-ts'ıang or Wen-shu. In all the Northern schools, however, Manjusri is ranked along with Ivalokitesvara; conf. Vassilief, p. 125; Burimu, Introdl. pp. 100, 101. Ghantapani is the proper Bodhisattva of Vajrasattva (Hodgaon, Ess, p. 91). In Chat the place to the left of Buldha is often uccupied by Ta-shi-chi-p'u-sa or Mahästhanaprapta, who properly belongs to the retinue of Imitabha, the favourite Jnani Buddha. It is apparently doubtful whum he
presents; Schutt says Maudgalyayana, but we find in some of their temples groups consisting of lipankara, Ivalokitesvart, Samantahlalra, Manjusri, Sariputtra, Malåsthinaprapta, am Maulalvávana (Teu-tseu). Maudul yâyana, however, was "the discidle of the left hand," and this agrees with the position assigned to Muhasthanaprapta in China, an l that given to Vajrapani in India. Sariputra, as the representative of complete esoteric wielom, might le supposeul to be the proper analogue of Manjusri; and Maudyalyayana-pre-cninent for th: furce of living faculties-as that of Avalokitesvara. Neither Maha-thânaprapta nor Samantabhadra are mentioneel by Hiwin Tisang. As the former is represented with a small chaitya or dagala on his forehead to contain the relics (srira) of Duldha, and a mre, he is probably the same as the Vajrapani of the caves. He is called Scissi in Japan; and Samantabhadra is called Fu-gwen.

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ELURA: THE DON THAL CAVE.
high headdresses and aureoles behind their heads, and opposite to them are three females or Devis-one bearing a flower-stalk. These are, doubtless, the Tàrâs or female counterparts (bodhisattvasamachcheryds) of the Bodhisattvas. Close to this, in the back of the verandah, is a door into a cell with a low broad bench or bed on the right side. Next to this is a shrine, with Buddha seated cross-legged on a throne, with four armed dwarfs at the corners, his hands in the hamisparsa mudrá,' that is, the left lying open in the lap and the right over the knee, with the back turned outwards. A small half figure of a female, in front of the throne and towards Buddha's right, holds up a jar. This is probably intended to represent Sujata, the daughter of Senani, who offered boiled milk to Gautama, just before he became a Buddha.
The chauri-bearers are, as usual here, the two Bodhisattvas, the vajra or bolt of the left one being supported on a flower by his side. On the same side are also three other standing figures, the first with a flower, the second with a large round bad, and the third with a pennon. Opposite these last are other three-the last with a long straight sword. A pair of gandharvas appear over each shoulder of the Buddha, and on the side walls over the Bodhisattvas are six Buddhas seated cross-legged on two shelves. To the north of the door into this shrine, a little figure kneels in an arched recess.
15
The central door leads into a room about 30 feet wide by 20 feet deep, and 8 feet 9 inches high, with two square pillars in the middle, and partially lighted by an opening in the wall on each side of the door. In the shrine behind it, 13 feet wide and 8 feet 9 inches high, is an image of Buddha on a simhdeaner, in the bhamisparta modrá, with the usual Bodhisattvas as attendants-Vajrapani holding the thunderbolt in his uplifted right hand.
The shrine door to the left of this has mouldings round it, and lions carved at the foot of the jambs on the step. The sculpture inside is very similar to that on the other side of the principal shrine, but with the addition of a fat male figure on the front wall to the left of the entrance, and a female on the right.
On the verandah wall, between this and the door into an unfinished cell, is a figure of Dharma-that might be mistaken for Lakshmi-four-armed, with water-pot, lotus, and rosary, also two other female figures.
A stair in the rock leads up to the third storey, which has a hall 101 feet long, by 21 feet deep and 9 feet 7 inches high, but badly lighted on account of two large blocks left on each side the vestibule leading into it from the verandah. All the light admitted comes through this vestibule 30 feet wide and 15 feet deep, and through a narrow door and passage at each end. In the hall is one row of eight square pillars running from end to end. The pillars of the verandah have very thin plain brackets, and but little ornament on their square shafts (pl. xvi, fig. 5). Outside them is a low parapet wall. Inside, the pillars are perfectly plain. At the south end of the verandah is an empty cell, and in the inner walls are three slight cuttings, the beginnings of cells. In the middle of the back wall is an ante-chamber with two square pillars in front, and through it is the shrine containing a
1 Also called the Thurmusparsa mulra; the fingers of the right hand usually touch the seat.
Sujata Eugenia: for the story, see Bigandet's Legend of Gandama (3rd ed.), vol. i. p. 82: S. Hardy's Manual of Buddhism, p. 170; Beal's Fu-hiun, p. 121, and Romantic Legend, p. 194, where Sujata's father is called Nandika. In the Lalita Vistaru, as in some of the other versions, there are two sisters, Trapusha and Bhallika, who prepare the milk for him; in other accounts they are called Nanda and Nandabala, daughters of Sujata, the lord of the village. E. Arnold, in his Light of Axiu, quite alters the legend.

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ARILEOLXICAL SURVEY OF WESTERX IXDI
seated Budiha in the teaching attitude, with Avalokitesvara or Padmapâni and Manjusri or Vajrapani only as attendants. At the north end of the hall is another shrine, with a Bulha quatted on a throne and attendants. On the walls of this cave are many small figures of Buddha, a Padmapani with four arms, figures stated on lotuses, in the lulitásund wwwi, with one foot under them and the other on the ground-both male and female. Figures of Jahisasuri and Ganapati on the south wall are evidently of late date.
,CAVE XII.-The Tix THÁL.
The twelfth and last of the series of Bauddha caves here is the Tin Thâl or threePage #36

ELURI: THE TIX TUAL CAVE
lotus bud. Which of the Bodhisattvas each of these is we can hardly say, but the corner four may perhaps be Ratnapaņi, Ghantipáni, Maitreya, and Samantabhadra; or the six above and below may be analogous to a group sometimes met with in China, including Såriputtra and Maudgalyâyana (the two agrasmicukus), Samantabhadra, Ananda, Kasvapit (the Arya Stharina), and Rahula (Gautama's son). But it is not improbable that such designations as Vajrapâni, Padmapâni, Mahůsthånaprapta, Kshitigarbla, Ghantâquņi, &c., were first given for obvious reasons to figures of the favourite disciples of Buddha, and that afterwards the original names dropped out of use, and the epithets became designations of Bodhisattvas-a class of beings not recognised by the schools of the Ilinayana. But whatever be their names, they correspond with the standing figures we meet with so frequently in the shrines at Elurů, arranged side by side alony either wall.
In a corresponding area to the south of the autechamber has been a figure of Buddha seated cross-legged with Avalokitesvara and Manjusri' as attendants, but this sculpture is Very much destroyed.
On all the pilasters of the antechamber figures have been sculptured; in three casts Budilha occupies the upper part of the area with the usual Bodhisattva attendants; and below, on one, is a female, Tårå, with the lotus; on another, Buddha alone; on a third, the same with attendants; on a fourth, another female; and on a fifth, Budilla with a fourarmed dêri--perhaps Dharma (repeated thrice below) having an clongated object in her lap and a sort of sceptre in one of her left hands.
In recesses on the right are large figures of Buddha cross-legged on sinusenas, with attendants having flowers of different sorts in their hands. On each side of the shrine door are seated fat guardian figures, each holding a Hower stalk; that on the right (south) sido has a book laid over the opening bud, and hence may represent Mañjušri.
On the wall of the small lobby from which the stair ascends, the sculpture of nine panels is repeated, but is much defaced; there is also above it a Bulha between two chauri-bearers, one with a flower and the other with a bud covered by a book, to his right a female holding a flower-stalk, and to the left a four-armed Devi with a rosary and bottl. or goglet.
Ascending the stair, at the turning we enter a small room about 23 feet by 15, with two pillars in front, looking into the court, on the back wall of which is carved it large cross
1 Mr. Beal suurests that this may be K biti urbha, the Ti-tany pura of the Chineze ; see Vassilief, ' 170, 175.
In China Ananda anl Ka yara often stand next to Buddha in the shrines, and with Manjusri, Samant: bhara, Sariputtra, and Maudyalyayana, futhi a group of six; but in China and Japan, Buddh
times Manjusri on his left mounted on a lion, and Samantabhaira on an elephant at his right.- Elkins, I. in China p. 229, anLinn du Jne. Guimet, tome iv, p. 276, anal plate vii, r. 110. In Clean the usual attendant tignare Morallano and Sariputto (the twu wpiscind ). Rahulo, Anando, and K .
3 Manjusri appears unter many names, as Manjunath, Mahimati, Kumararija. Kladi. Vajrullar Vibhusana, Sanlulavahana, Sinhakeli, fc., awl sometimes bear a sword in his right hand, and a bok on a lotuflower in the left. He is the apotheosis of transcendental wisdom, as Avalokitesvara is of me . He has two wives, Sarasvati and Lakshmi, anl in China is nganle as presiding over air (win). He is the prince of eloquence and spiritual son of Sakya. The worship of Manjusri anul Avalokitesvara seenus to have come int rogue in India before the time of Fah-hian (a.1. 100). He is ngarled as the special protector of N il, and the Emperor of China is styled his incarnation.-kal'Fil-kian, . 60; Jorr. ds. Sc., vol. xvi, 201; Cumu. Tibet. Gram., p. 189 ff; ds. Res., vol. xvi, Pr 139-173; J . ds. Sor. Den.. vol. xii, pt. i, ID102, 101. HON. Dumouf, Lotus, l 498 ff.
+ The shrine has been fully described in The Che Twplex, 382.

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IRCILEOLOGICAL SURVEY OF WESTERX IXDI.1.
leven? Buldha seated on a simhasına, with Gandharvas above him and the two favourite Bölhisattvas as chuuri-bearers. To the right and left of this are the nine panels again renatal, and over that to the right are three arched compartments containing figures of four-armed goddesses similar to those representing Dharma and Samgha in the mythology of the northern Buddhists, the second with lotus bud and attendants, and the third with
erhuis a bottle and shankh or conch shell. On the east wall is a four-armed Devi with songething like a dish filled with fruit or food in one of her left hands on her lap, and holding a lotus, &c. Then Buddha and attendants; and again two figures of the four-armed unde, her two front hands laid on her knees; and lastly, Buddha with attendants.
On the west wall is Padmapåņi seated with one leg tucked under him and his hands on his knees (plate xviii, fig. 3). To his left is a goddess, probably Tårå or Prajña, with a cagaba on the front of her headdress, and with the right foot down over the padmasana un lutus seat, and the left doubled up on it (lalitásana mudrá). Her right hand lies over her knee with the palm turned outwards (rardha or cara mudra), the attitude of bestowal, tad the left holds the stalk of a flower. On the other side is a fat figure with the right fimit raised upon the seat, and a bud at his elbow. Outside this compartment to the left the two females in the attitude of supplication, and above them a male figure with a flowerstalk-the usual badge of a Bodhisattva.
Ascending the other half of the stair, we land in a small room at the south end of the verandal of the second storey, which is on the same plan as the upper floor of the last cave,
ir with a larger hall (pl. xiv, fig. 2). The verandah is 116 feet long by 11 feet wide and 12 feet 2 inches high, with eight square pillars in front, and with a small room at each end, forming at the south the landing for the stair from the ground floor, and at the north the potrance to the stair ascending to the upper floor. From each of these a still smal
partment opens; that at the south, a small cell with a stone bench; the other, a recess, with an image of Buddha seated with the wheel-emblem between his feet, his hands in the 2nd Zharmachakra or teaching mudra, and in front, on the ground, two deer. Padmapâņi and Vijrapâņi, with chauris, stand on each side, coarsely executed. On the wall, opposite the foot of the stair, are Padmapåņi and two female figures, and, above them, a då gaba, a Buddha, and a male and female, each with flower-stalks.
The hall lies back from the verandah, and is entered through a vestibule about 36 feet wide by 18 feet deep, with two square pillars in front and back, and also by side doors at 6 the ends of the verandah. In each of the large blocks of rock left two cells are carved, facing the hall, which is 118 feet from north to south, by about 34 feet deep and 11 feet
inches high, divided into three aisles by rows of eight square pillars each-two of them wmls hewn away. In each end of this hall, including the passage from the end door, are
cells; and in the back wall are five more. The antechamber to the shrine is 36 feet ab, with two pillars in front.
In the north end of the vestibule of the hall is a large sculpture of Avalokitesvara il between two females (Lochani' and Târâ), the one on his left hand having a bottle
This is apparently one of the Trials of which the Bauddha sects have so many, in one of the chief of which rolni is identified with the Sangha, the other two being Ludba and Prajna who represents the Dharma. :In connection with this Triad that the Northern Bullhists have the famous mantra,
Om sarere chlym Om Prajiiy honi Om mini- me horie || She occupies a high qulace in the Malayata mythology, and is represented as the second constituent of the me or threefoll body," or that entlueil with the samhôalviya of absolute completeness, and the cquivaut ur counterpart of the Struha in the Triratna. In Nepil she is the sakti of lkshobhya.

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ELURI: THE TIX THIL CIVE.
before her; the other had a flower-stalk by her side. On the pilaster to the left are a squatting figure of Buddha, two male figures, and four females, with different flowers. On that to the right is a dagaba and flay, a squatting Buddha, and a Bodhisattva with a flower. Behind this is a repetition of the sculpture with the nine figures, only hier Buddba is in the centre of the upper row. On the south end is a repetition of the sculpture on a smaller scale, but with two Dêris on each side.
On the north pilaster of the antechamber to the shrine is carved a dayaba, with a Buddha on the front of it; below it a squatting Buddha, and still lower a Déri with a flower branch. The shrine door is plain, but has large figures of Padmapáni with his lutus and rosary, and Vajrapâņi with his fulmen, as guardians.
The shrine itself is about 22 feet wide, 19 feet deep, and 13 feet 8 inches high. It contains an enormous image of Buddha seated cross-legged in the thâmisparsa múlró, with the left hand in the lap and the right lying over the knee. In front of the low pulmise or Bodhimanda, on which he is seated, is a female (Sujata ?) holding up a jar, and to the left is another standing over a prostrate human figure. Against each side wall stand five tall Bodhisattvas. On the right side are (1.) Avalokitesvara or Padmapàņi as chuuri-bearer (chámarika); (2.) a figure with a bud in his right hand; (3.) another with a sword; (1.) a fourth with his hand raised; and (5.) one with a lotus Huwer; and on the front wall on a high seat squats a female holding a flower-stalk. On the left side, as in the upper shrine represented in plate xx, fig. 1, are (1.) Vajrapàņi, with the cure on the top of the flower-stalk; (2) the second with an opening Hower, and holding some small object in his right hand; (3.) with a full-blown flower and a small object; (4.) with a flag and small object; and (5.) with only a bud in the right hand. On the front wall is a stout mal, with a round object in the right and a long curling one in the left hand. This is probably the excavator of the cave. On shelves above are seven Buddhas on each side seated cross-leggel.
On the jamb of a window that lights the stair ascending to the upper storey is a small figure on horseback with two attendants, and above is a female with a flower.
The upper floor of the Tin Thâl is by far the most splendid ball among the Baud Via Caves of India. It measures 115 feet in length by 64 deep from the inside of the first row of pillars, and 12 feet 2! inches light, the roof being supported by forty square pillars in five rows, inclusive of the frout one. At the back also it has an open autechamber 37! feel wide, the front divided by two pillars, and 16 foet deep. Unlike the monastic balls the Ajanta vihůras, this has no cells for residents. Five recesses in the south and four in the north end wall coutain nine colossal images of Buddhas' with their attendants, but unfortunately all the sculptures have been more or less broken, scarcely a figure being left entire in this splendid cave.
Along the back wall of the hall are fourteen large cross-leggel figures of Budihas. seven on the north, and as many to the south of entrance of the antechamber to the shrnc. Those on the north side hare each his hands in his lap-in the Jirinde mudri, aureoles behind their heads, and trees rising from behind them, with foliage carefully varied in each case. These must represent the supposed seven last Bulbas, viz. (1.) Tipsvi; (e.) Sikhi; (3.) Visvabhủ; (4.) Krakuclichhanda ; (5.) Kanaka Muni; (6.) Kasvaja; and (7.) Sakya Simha, whose Bodhirrikslus or sacreil trees, accorsling to Mahanamo in lii
1 Possibly Liparikara, Ratuagalli, Vivaxi, Sikhi, Visviel hù, Krakudhulunkt. Kancka Muni, Kass Saksa Sinha.
, ..!

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20
ARCIL.EOLOGICAL SURVEY OF WESTERN INDIA.
Tik on the Maharanao, were respectively (1.) the Patali or trumpet-flower, Bignonia suaveolens; (2) the Pundarika, a fragrant kind of mango; (3.) the Sala, Shorea robusta; (4.) the Sirisha, deacin sirisa; (5.) the Udumbara, Ficus glomorata; (6.) the Nyagrodha, Fiens Indien; and (7.) the Pippala or Asvattha, Ficus religiose. Corresponding to these, on the southern portion of the wall, are other seven very similar figures, all in the dharmachakra minded, or having the hands in the teaching attitude. From the nimbus behind each head springs a circular flower forming the centre of the underpart of an umbrella (chhatra), with a gandharu at each side supporting it and carrying a gift. If these, as is probable, are different from the seven to the north of them, I would venture to suggest that they may be the divine Buddhas-Vairochana," Akahobbya, Ratnasambhava, Amitabha, Amoghasiddha, Vajrasatwa and Vajrarája; but they may really be only the Manushiya Buddhas differently arranged.
3
The researches of modern scholars have done much to illustrate the ethical system of the Bauddha doctors, and to acquaint us with the legends that fill their works, but so little attention has as yet been devoted to the practical creed and mythology of the common people, and the liturgical ceremonies of the worship that was daily practised in their temples, that in the whole round of the literature on Buddhism published within the last fifty years, we have but little to help us in identifying the sculptures on the walls of these Bauddha Cave Temples, though representing the beings that the great mass of Buddhists were most taught to reverence, and which occupied their minds far more than the subtle distinction between the heinousness of a párájika and a dukkața sin, or the contents and meaning of the suttas. The result of this is, that Western opinions of Buddhism, founded on the abridged legends of an idealised Buddha and the moral maxims of Buddhist philosophers, is one-sided and very defective. Special and detailed researches have still to be made into the progressive developments of Buddhism and Bauddha ritual, and for these there doubtless exist abundant materials in the Sanskrit works found in Nepal, and in the translations of China and Tibet, as well as in the ceremonials still in vogue in these countries. For though Buddhism began with a purely ethical theory, and, as an atheistic system must do, it made little at all of worship-yet in course of time, as the cave sculptures testify, it began to develop a mythology which went on increasing, until, in all countries where the Mahâyâna schools prevailed, Buddhism became one of the most fautastic and grossly idolatrous religious systems in the world. The earlier elements of their pantheon are represented in the Cave Temples of Kanheri, Ajanta, Aurangabad, Bhâjà, and Elurâ; its later developments are described in the great Sutras of Northern Buddhism, most of which are as yet inaccessible except to a very few Sanskrit scholars. Indian Buddhism, as we learn from the records of the early Chinese pilgrims and the cave sculptures, was to a very large extent of the Mahâyâna form, and it is only from the literature of the schools of that sect we can hope to learn much about it.
Turnour's Mahiranso, int. p. xxxiii, xxxiv; conf. Cunningham, Bharhut Stapa, pp. 113, 114, and plates xxix, xxx.
Vairochana is the sun, and also the counterpart of Dharma in the Triratna, as representing the essence of Buddha and Lochani.
3 The works of Burnouf, Koppen, Hodgson, and the fragment published by Vassilief in 1859, are the best we have on this branch of the subject, and even these only treat of it incidentally.
It is much to be regretted that the valuable collection of drawings presented by Mr. B. H. Hodgson to the French Institute in 1863 have not been published. His papers and illustrations in the Trans. R. A. Soc., vol. ii, and Jour. R. As, Soc., vol. xviii, are most valuable, but we need many more details to illustrate satisfactorily the pantheon of the Buddhists.

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ELURA: THE TIX THAL CAVE.
On each end wall of the antechamber leading to the shrine are three Dévis-the inner one on each side with four arms, and holding a rosary and crooked rod-perhaps Dharma as Prajña paramita. The others have only two armis cach; all are seated on open lotus flowers on raised thrones, have high crowns or tiaras and aureoles, and the left hand is raised, the fingers extended, and with the tips of the forefinger and thumb each holds the stalk of a lotus or similar flower; the right hand on the knee holds another stalk, and all have bracelets formed of many rings, and necklaces. Three other figures on each side the shrine door cover the back wall. Each has her left foot tucked up before or under her, and the right down upon a lotus flower, or in the lulitásuna mudra. The thrones are supported by Vagas, &c. One of these figures, to the left of the shrine door (plate xix, fig. 5), has an upright vajra supported on the flower she holds, and as this identifies her as Lochani, the Buddhisakti of Akshobhya, we may regard the other four on one side the room as her associated goddesses, -Vajradhateśvari, Mamukli, Påndara, and Tara.' The other five, if different, must then be the five Târâs--Sità-tåra, Ugra-tårå, Ratna-tårå, Bhrikuti-tårà, and Visva-tara.? Above these are four Buddhas on the back wall, on each side the door, and five on each end wall.
The shrine door is plain with bold mouldings and but little carving. The dwûropålus have very high caps, and stand with their arms crossed, and by the door jambs are small couchant lions.
The shrine is 21 feet wide, about 24 feet deep, and 14 feet 4 inches high, and the large Buddba is fully 11 feet high, and from knee to knee is 9 feet, while his feet measure 2 feet 6 inches in length. He is scated cross-legged in the blamispars mudra, or that in which he attained Buddhahood, with the left hand in the lap am the right over the knee, pointing to the ground.
His nose and lips have been broken off by the Musalmans, but are supplied in plaster, and the whole figure is frequently whitewashed. Round the seat and image is a dark passage by which it may be circumambulated. On the floor against the front of the throne are the two female figures already noticed as found in the same position in other shrines.
On the sides of the shrine are five tall standing figures of Bodhisattvas against each wall. On the left side are (1.) Padma påņi with a chamara, his face destroyed but restored with plaster, as Hanuman's; (2.) a Bodhisattva with a flower bud; (3.) another (perhaps Viśvapâni) with a long sword in the left hand, and a bud or small fiv-Hap in the right; (4.) the next has a pear-shaped object, and a similar small chauri; and (5.) the last has some object not recognisable in his left, and a similar Lud or small fly-flap in the right.
The sculpture on the left wall is represented on plate xs, fig. 1. Here on the upper part of the wall are five figures of Buddha, all in the Jnana mudre or attitude of meditation. Below on the left and next to the great image of the shrine is Vajrapâņi acting as châmara-bearer to the Buddha, and easily recognised by his very rich headdress, necklaces, jewelled belt, armlets, &c., as well as by the vajra or fulmen, supported on a halfopened bud which rises over his left arm. To his left are other four smaller figures--though all much larger than life size-each holding some symbol by which he might be recognised. Thus, the next carries a book, and is perhaps Samantabhadra, the third and fifth bold bulls in their left hands, and perhaps some sort of fruit in the right, and the fourth has a small flag or pennon; all stand on lotus flowers, and have very rich headdresses, which varv,
1 These are respectively the suktis of Vairóchana, Ratnasambhava, Amitabha, anılmoghasiddha.
These are the wives or saltis of Samanta bhadra, Vajrapani, Ratnapani, Padmajini, and Visvaprini respuesta ively, but even their names are scarcely to be found in any Sanskrit dictionary.

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ARCHEOLOGICAL SURVEY OF WESTERN INDIA.
however, in minute details. On the front wall is a seated male figure with an object like a purse on his left knee, and something like money in his right hand; below him is a kamandalu or water-jar, with flowers growing out of it; on the other side of the door is a female figure squatting and holding a bud. On the walls above are Buddhas seated crosslegged, five on each side wall, and two on the front wall.
Before leaving these figures it may be worth while comparing them with the analogous ones in the Bâgh caves in Mâlwâ. In the antechamber of the shrine of the most entire cave there (No. I.) are four large sculptured panels; on each end Buddha between two attendants (plate xviii, fig. 4), and on each side the shrine door is a Bodhisattva about 10 feet high, represented in figs. 2 and 3 of plate xx. That on the right has had his right hand broken off, so that its original position is no longer recognisable; but the general style of both figures is so like those we find at Elurâ, that they cannot be mistaken; and the resemblance to the Bodhisattvas in the Aurangâbâd caves is still more striking. In both places the figure of Avalokitesvara is distinguished by the scantiness of the dress and the absence of jewellery, while that of the other Bodhisattva is marked by the jewelled belt, armlets, bracelets, rich mukuta and necklaces, while he wears a jewelled cord like the Brahmanical janvi.
The figures that attend on Buddha in the panels in the ends of the antechamber (plate xviii, fig. 4), are perhaps different persons, though the one with the châmara on his right is again distinguished by his rich mukuta, jewelled belt, janvi, and necklace, from the other who bears only flowers in his hands. They are each about 74 feet high.
This is the last of the series of Bauddha Caves here, and probably one of the last excavated in India. In plan and arrangements, it bears a striking resemblance to the Dâs Avatâra Brahmanical Cave close by, and, as already indicated, it is very probable they were excavated about the same period. It exhibits the early Mahâyâna mythology of the Yogacharya school in a more developed state than any other cave in India, and can hardly be ascribed to an earlier date than about 700 A.D.
CHAPTER IV.
THE ELURA BRAHMANICAL CAVE TEMPLES. THE DAS AVATARA AND KAILASA.
THE Brahmanical Caves" begin at a distance of about fifty yards north of the Tin Thal. the first we meet with being a large plain room, probably intended as a rest-house for pilgrims (see plate ii).
In the large cave close to this, known as Ravana-ka-Khâï, the transition to the Brahmanical form is complete. There is nothing in either its architecture or its sculpture that can be mistaken for anything the Buddhists ever did. There are, however, as yet, no
1 Care Temples, pp 363 ff.
In Captain Dangerfield's account of the Bagh Caves, Trans. Liter. Sr. Bombay, vol. ii, pp. 194 ff. are drawings of these figures, but very inaccurate. Dr. Impey's description of the caves, Jour. Bom. B. R. As. Soc., vol. v, pp. 543 ff, is not illustrated.
Compare plate liii in Reports, vol. iii. p. 76.
* Compare Cure Temples, plates lxiv, lxv, with plates lxxiii and lxxiv.
This school. founded as already mentioned, perhaps about A. D. 300, acknowledged the existence of a soul in the universe. The other principal school of the Mahayana was the Madhyamika or followers of Nagarjuna. See Vassilief, pp. 262, 286 f., 321.
See Care Temples, introduction to chapter v of Book III, p. 431.

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ELURA BRAHMANICAL CAVES.
23
violent contrasts. The plan of the temple and the position of the shrine are not unlike what we find in the latest caves at Aurangâbâd and in Cave No. VIII. and the ruined south wing of Cave V. here; and the substitution of sculpture for cells-which are not required in Brahmanical caves-is only carrying out the system inaugurated in the Tin Thâl.
A plan of this Cave will be found in The Cave Temples, plate lxx, fig. 2, and its sculptures are described in sufficient detail, pp. 432-435 of that work, to dispense with anything further being said on the subject here. It has almost certainly been dedicated to one of the goddesses -forms of Pârvati, but-like the Dâs Avatâra, a large cave at Karusâ, a small one at Aihole, and some of the earlier temples-its sculptures are partly Vaishnava and partly Śaiva.
THE DAS AVATARA CAVE.
The next cave is a two-storeyed one, and one of the largest in the Brahmanical group. Plans of both floors are given in The Cave Temples, plates lxxiii and lxxiv, and on plate xxiii, fig. 2, of this volume is added a transverse section of the cave and through the court, with its central mandapa. Though on a small scale, this will help to illustrate the arrangements of the cave, and show how the sculptures are disposed on the left wall of the upper floor. Outside, on the end of the balcony, is a four-armed Rudra in a state of frantic excitement, but a leg and one of the hands are broken off.
No. 12.-The Dis Avatara Cave, from a photograph.
The general appearance of the front of this cave, as seen from one side of the court, is illustrated by the accompanying woodcut (No. 12), in which the roof of the hall in the court is seen in the foreground.
We observe the carlier approaches to this arrangement in the isolation of the image in some of the Ajanta caves, and in a more marked form in the shrine of Cave XVI. there. See Care Temples, pl. xxxiii.

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24
ARCH.EOLOGICAL SURVEY OF WESTERN INDIA
The front pillars only have any carving upon them, all the rest inside being plain square shafts. One of these pillars in the upper storey is represented on plate xxi, fig. 1, and the shaft of the pilaster in the north end of the balcony in fig. 2, and a glance at them will show how strangely like Buddhist work they are. In the pilaster the little figure of Lakshmi in the lotus flower might readily be mistaken for a Bauddha one, and the dancing female and musicians below we have the exact counterpart of in the Aurangabad Buddhist shrine No. VII,' while the gandharvas and gana are quite as common in the works of that sect as in those of the Brahmans.
The pillur (fig. 1) is at first sight still more strikingly Buddhist. The figure on the end of the bracket most closely resembles Buddha in the bhamisparsa madre, and the figures coming out of the mouths of makaras are what are found behind most figures of Buddha in the shrines. How this came here is difficult to surmise. On the lower part of the capital the sculptures are more Brahmanical: the naya-like figure in the centre is Vishnu, and the flying one below him is Garuda, while the Nagas and their wives at each side are found also in other Vaishnava sculptures
The stair lands in the north end of the front aisle, so there is no carving there; but in the end of the next cross aisle is the figure of Bhairava trampling on Kâlî, which forms one of the most terrible and expressive sculptures in these caves (see plate xxii, fig. 2). The next compartment or chapel has Siva, eight-armed, dancing the dread taedava amid his followers (pl. xxi, fig. 4). At the end of the fourth aisle is an altar, but without any image now. The next contains Siva, four-armed, seated with Parvati, two-armed, and supposed to be playing chousur; while below, or in front of the seat, is the Nandi or bull and the dwarf ge frolicking about him. The sixth has the usual sculpture of Ravana under Kailasa, attempting to carry off Siva and his consort, while the guna are represented as expressing their contempt for the many-handed monster in the vilest way. The next two compartments, being on the buck wall, do not appear in the section; the first of them Contains Siva springing from out of the linge to rescue his worshipper Märkandeya from Yamadaitya, the messenger of death (plate xxiv, fig. 1)-a myth but rarely represented in Hindu sculpture, but which also occurs in the corridor behind Kailasa, which is also represented on the same plate. The second compartment contains Śiva and his consort, with Nandi and attendants. The pillars in the front of the antechamber have struts, each carved with a pair of figures and foliage somewhat like those in the great cave at Badami," but of much ruder workmanship. On the left side of the chamber is a very large figure of Ganesa or Ganapati, the god of policy-a figure which, though in modern times so universal a favourite and so constantly represented, is but sparingly so in the earlier mythology of the caves. On the back wall, to the right of this last, is a goddess-perhaps Pârvati-with a rosary in her hand, and musicians on each side. She sits on a lotus, and two figures below, among foliage, holl the stalk, as the Någa figures do under the images of Buddha. The dwarapalas of the shrine-door are four-armed, and have the rojo, snake, and club. The silunkhe, or altar round the linge, in the shrine, has been destroyed by the Muhammadans, but the linga has perhaps been left unmoved. Whether any valuables. were found around its base is, of course, unknown.
1 Reports, vol. iii. plate liv, fig. 5, and p. 78.
2E... in Badami Cave III. 3 Archirol. Reports, vol. i, pl.
See Reports, vol. i, plate xx.
xxiv to xxx. Compare also Care Temples, pl. xlv. fig. 2.

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ELIRI: D.IS VITARA CAVE
The other side of the cave is similarly sculptured. On the right of the shrine-loor is Lakshmi, with four elephants pouring water ou her. She is seated, similarly to the figure on the other side, on a lutus upheld by figures below, and holds at lutus and a cu-tard-apple in her hands. Two four-armeil attendants offer jars of water, and hold the sound:h, chukue, and lotus. On the right end of the antechuber is il figure of Vislimu, with his trisula ut lotus, attended by a large birl, which eats from his right hand, and it dwarf stands at his luft.
On the back wall is a figure of Siva inside a great pillar or linya, from the sides of which issue flames (plate xxi, fig. 3). On the right hann Vilmu is represented worshipping it, and again as Varáha digging down to try and find the bottom of it. On the other side is Bralima worshipping, and also flying up to try to discover its summit. The leren bere referred to is well known amouy the Lingayats. The next compartment contains Siva alse, represented in a chariot with shield, sword, and bow, while Brahma drives the four horses (the l'elas) yoked to it.
The south wall is devoted to Vislinu, and the back compartment contrins that goed is Krishna with six arms, holding up Gurarillan Hill above the flocks of Vraj. The next is the usual representation of Naravana resting on Sesla, who has liere a human head, with seven scated figures below. The third is Visliņu riding on Garudal. The fourth niche contains a l'edi or pedestal for an image; the fifth has Variha bearing Prithvi; the sixth is the Trivikrania or Våmana avatara, represented as at Badami; and the seventh is Narusimha wrestling with Hiranyakaśipu (plate xxii, fir. 1), who is armed with sword and shield. Outside the cave on the wall is a gigantic Saiva d wårapala, with long curly locks, two cherubs above.
The mandap in the front of the court is about 31 feet widely 26 feet der am 10.! feet high, the roof being supported by four square pillars with plain square lorackets and moulded lases. It had a porch, in front of a perforated window, on the west side, supported by two pillars in front, but the right-hand or south pillar, with most of the roof, is broken awar. Over this window are the remains of an inscription in fourteen long lines, containing twenty-nine and a half verses, now much abraled, lut which has been partially cliplert by Pandit Bhagvânlal Indraji,' and from which is made out a nealogy of the Rashtra kuţa dynasty, which ruled over the Dekhan from about A.D. 600 till towards the end of the tenth century. The names here cnumerated are:
1. Dantivarna I. (cir. 1.1). 600-630). ... Indraraja I., his son (630-650). 3. Govindaraja I., son of Indraraj. (650-677). 1. Karkarija I. (or Kakka), son of Govin.la (07.--700). 5. Indmraja II., son of Karka (700-750). 6. Dantidurga (or antivarmi II) Khasivalika, 11 of In Ira II., 1.1). 753," who overome Vallah,
the Western Chalukva kiny, Kirttivarma II.
Nothing is made out respecting the construction of the temple, but the inscription may be taken as proving that it was finished, or at least in an advanced condition, when Dantidurga visited Elurů in the middle of the cightli century; and it is not improbable that he had
I Cam Towple Inwriptions (Domlar, 1881), 92: seal o below. ]. 19.
• Vile rent, vol. jii, p. 31-33: Im Int., vol. vi. pp. 59-72: vol. I, p. 205; vol. v, p. 141: anl vol. xi, 1. 108; Jwr. . S. D.wl., vol. viii, 1. 292: Flut's iesis of the kom . District, sect. v.
% This is the late of the Sun d ant. Inl. Ant., vol. xi. 1. 110.

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IRCHEOLOGICAL SURVEY OF WESTERN INDIA.
constructed it. The inscription breaks off, however, in the 30th verse, and has never been finished. Moreover, in an inscription of Krishnaraja, the uncle and successor of Dantidurga, he is said to have established himself at the bill or lill-fort of Elå půra, where was a splendid temple of Svayambhu Śiva. May not this Elå půra have been Elurå? There was a Hindu city on the hill, of which extensive remains are yet to be seen.
On the north and south sides of the mandap are also perforated windows, and the door faces the cave. On the flat roof are tigers or lions at the corners, and three human or mythological figures between on each side. The door is in the style usual in the caves, with a plain architrave, and very small pairs of figures of gods and animals in the miniature representations of temples on the lintel. On each jamb of the door is a female figure with a small umbrella over the headdress, and a chauri on each side the bead. On the corner pilasters are pairs of figures in embrace; and on the spaces between, in separate compartments, on each side, are one larger and two smaller male figures. On the north end are one male and three female figures on the four pilasters, and females in the larger intervening panels and in one of the smaller. On the north side is a curious toranu over the window; the corresponding one on the south side is empty. On the west side there are females on the corner pilasters only, and their hair is done up in the same style as in the figures in the temple of Virupaksha at Pattadakal; two of the smaller panels are empty, aud males fill two larger and two smaller ones.
In a small room on the left of the entrance to the court, Brahma and Vishnu with a Devi occupy the left wall, and Ganapati the right. Inside is a shrine, which has never been finished, containing a round salunkha bearing a linga, and behind it on the wall is a Trimurti. This excavation is of a very rude character, and probably belongs to a later age than the cave.
KAILĀSA OR RANG MAHAL. This Rock-Temple, strictly so called, is No. XVII, of the series as reckoned from the south, and has been pretty fully described in The Cave Temples, pp. 418 to 463, and illustrated in the six plates lxxx to lsxxiv. It was there shown that the resemblances both in plan and details between this and the temple of Virûpå ksha at Pattadakal," which was erected by the queen-consort of Vikramaditya II., of the Western Chalukya dynasty, about A.D. 730, give us strong confirmation to the conclusion, which is also supported by a fragment of an inscription found upon it, and other corroborative circumstances, that it was constructed in the reign of Dantidurga, the great Råthod king (cir. A.D. 730-755).
It is by far the most extensive and elaborate rock-cut temple in India, and the most interesting as well as the most magnificent of all the architectural objects which that country possesses. It is therefore well worthy, not only of the few additional illustrations which this volume contaius, but of even a much more complete series of drawings than the means at our disposal will allow.
Jowr. 48. Soc. Brw., vol. viii, Ir. 295, 301 ; Iwl. Ant., vol. vi, p. 61. Al Mas'udi (cir. 940 A.D.) mentioned the caves probably under the name of Alura (L. le Meynani's transl., tome iv, p. 95; and Care Temples, p. 367). The statement of the Jahatmya that the caves from Kailasa to the Dauddha Caves were constructed by Iluraja of Ilichpur & Res., vol. vi, 385) is, of course, of no authority, but it may have arisen from some tradition of this raja of Elipiūra. Other forms of it say that Ilu or Ilarija only cleaned and painted the caves about A.D. 900. See Car Temples, p. 157 note.
Described in the first Archeological Ivport, pr. 29-33, and plates xxxviii, xxxix, xl.
9 Conf. inscriptions from the temple, Iml. Ant., vol. x, p. 161-166 ; and Arch. Sur. Reports, vol. iii, pe 123. 126.

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ELURA: KAILASA ROCK TEMPLE.
In The Cave Temples are given plans of both storeys (plates lxxxi and lxxxi a) and the elevation of the south side of the temple itself. To these are now added in this volume plates iv, xxiii, fig. 1, and xxv to xxxi.
Plate xxiii, fig. 1, is a transverse section, on the same scale (20 feet to 1 inch) as the elevation (Cave Temples, pl. lxxxii), through the centre of the great hall, and continued north and south through the side excavations. This, together with the views in the frontispiece and the woodcut. No. 13, will give a clear idea how the central fane is raised on a solid basement of rock about 27 feet high. Along the court, on each side, are seen the pillars of the colonnade and under the scarp of the rock on the east. On the north or left side, the section passes through a wider part of the colonnade below,' and through the hall of the Lankêśvara temple above, looking towards the door of its shrine, with its river goddesses on each side.
No. 13.-View of Kailasa from the south-west.
On the right side of the great temple, it will be observed that the rock has been exca
vated in four storeys, none of them ever quite finished. On this side there was a bridge from the south balcony of the great hall into the second storey, but it had been cut too thin for the rock to support so long a bearing, and had broken down. These halls on the south side are not carved with much sculpture, except the one containing the female mâtris or demons, to the southwest of the central hall, and through which this section does not pass.
The fronts of the second and third storeys are protected above by handsome drips carved in the rock, quadrantal on the outer surface, and the under side. carved in imitation of ribs, with a bearing rafter running horizontally through them, in the most perfect imitation of a carefully-jointed wooden construction. As may be seen from the accompanying woodcut (No. 14), the effect of this is very pleasing.
XC
1 Marked M on the plan, Cave Temples, pl. lxxxi. From a sketch by Dr. Jas. Fergusson, Ind. and East. Arch.. p. 335. 3 Marked E' on the plan. Care Temples, pl. lxxxi a.
27
No. 14-Eaves of the Second Storey on the south side of Kailasa.

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IRCILEOLOGICAL SURVEY OF WESTERN INDIA.
In the third storey, the four pillars which support the roof are connected by a sort of arches, and the roof of the area within the pillars is considerably raised by a deep cornice. A square area is left in the centre of the roof, opening into the small room above, and just filling the area between the four pillars in it, similar to opening in the roof of the rock exeavation in the Uparkot at Junagadh. The fourth storey has an opening from the outside on the top of the rock, where there is some carving on the surface, near to the highroad.
THE HALL, &c. Among the details worth noting are the windows and panels of the great mandapa or hall. There are six windows, two in front and two on each side, of which the one on the south-east is very much broken; the other five are represented in plate iv, figs. 1-5, of which figs. 1 and 2 are those in front, figs. 3 and 4 on the north side, and fig. 5 the remaining window on the south. Three of them are arabesques, of very rich but entirely different designs, and the other two are formed of a combination of animal and vegetable desigos: then the spaces left uncarved are pierced through to admit the light. They may seem scarcely adequate for the purpose for which they were intended, but as light also enters from the five doors, these adnit sufficient additional light to dispel the darkness in the corners of the hall, as far as is really necessary in an Indian temple.
Among the sculptures may be noticed two representations of a favourite subject in the Brahmanical works of the eighth century—the destruction of Mahishasura or the buffaloheaded demon, by Chandi or Durga, an event commemorated in the festival of the Durgåpujâ or Daśarà, in the month of Aśvin (Sept.-Oct.)* Fig. 6 is the representation on a panel on the outside of the north wall of the great mandapa to the west of the balcony. Mahishasura is here and in fig. 7 represented with a human body, as he is also in the large and spirited sculpture in the Yamapuri or Mahishiamardinî cave at Mahåvallipur," and differs chiefly in his not having the high mukuta or regal cap which he wears in the latter. In later sculptures he is almost always represented with the body of a buffalo and a man's head, or with a mau's head coming out of the throat of a buffalo from which the goddess has cut off the head. In the Råvana-ka-Khâï the scene is represented on the left of the entrance, but there the demon is in the form of a buffalo which she has seized with one hand by the mouth, while with another she drives her trisula into him, and with another right hand holds a long sword. In both these sculptures he wears a rich necklace, and in the first has a heavy sword or bill in his hand. Her tiger, from which she has dismounted, has scized by the head one of the Asuras behind her. In fig. 7, which represents the large sculpture on the side of the porch by which the court is entered, and on its north wall, we find more accessories: the goddess Mahishamardini is mounted, but not astride, on
1 rcheul. Reports, vol. ii, pl. xxi to xxiii.
. In the temple of Virupaksha, at Pattadakal, which so closely resembles the Kailasa in plan and details, the windows are of similar device.
3 He is identical with the Sitihamukhasura of the Tamil districts.
4 The Chandinha, an episode from the Jlarhundeya Purúnu celebrating her victories over the Asuras, is read daily in her temples.
5 Cave Trwow, pr. 115-117. This cave is No. 32 in Carr's Seren Puyorlas, pp. 7, 32, 49, 96, 119, 208, and Triin R. A St., vol. ii, p. 261.
6.lt Bilimi there is a sculpture in a small cell off Cave I., in which he is also represented simply as a buffalo, trek. Sur. Iports, vol. I, p. 16, and plate xix, fig. 1; Cure Temple, p. 104.

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PLATE IV
ELURA.-KAILASA.
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Page #50

1
ELURA: KAILASA ROCK TEMPLE.
her lion, as at the Seven Pagodas near Madras, and is trampling down the Asura's assistants. while she attacks him with her arrows, several of which have pierced his right arm, with which he wields a heavy club. His left hand and shield are broken away. Above are the Dévas and Maharshis rejoicing over the victory; among the former of whom may be recognised Indra on his elephant, Agui on the ram. Yama on the buffalo with mace and noose, Vishnu on Garuda; the fourth and the last in the upper row are probably Sâni or Saturu and Varuna, and below the latter is Śiva on Nandi. The remainder of the lower line consists of other superhuman beings, Rishis, Gandharvas, and Apsaras. Below the panel are some other figures, too much abraded to be identified.
On the right or south side of the entrance into the court, in a panel with a pediment over it, is another representation of this scene, in which the Asura is represented between the body and the head of the buffalo.
On the front of the mandapa, to the north of the entrance, is a panel about 6 feet by 5 (plate xxvi, fig. 1), in which we easily recognise Śiva, four-armed, and standing on the back of a kneeling figure, with Umâ or Pârvati at his left side; he holds with one of his right hands what seems to be a long lock of hair, or else a cord coming out of the top of his headdress, and at the same time apparently supports a Naga-like female, perhaps intended for Ganga, the widening tail representing the stream in its descent. Lower it reaches an ascetic Jahnu, and (being drunk up by him) it again issues from his ear and descends among rocks, and is visited by an elephant and a goat. Beneath are seven half figures, possibly the Sapta-sindhava. The ascetic above standing on one leg may perhaps represent Bhagiratha, who by his asceticism prevailed on Siva to bring down the Viyad-Ganga to the earth.
Two other panels are represented in plate xxv, figs. 2 and 3,-the first, from the east side of the south porch, and the other from the west side of the same. The first is doubtless intended to represent some scene from the Ramayana, and the two men in the lower right corner may be Rama and Lakshmana. In the other a divinity is carrying off a chariot and its rider while a bird is pecking at him.
THE CORRIDOR IN THE COURT.
The corridor round the back of the temple, extending across the end of the court and nearly 120 feet along the south and north sides, contains quite a pantheon itself, the back wall being divided by pilasters into a series of large panels, each filled with a separate sculpture. The corridor at the east end of the south side measures 118 feet in length, and contains twelve of these panels, containing the following sculptures:-(1) Perhaps Annapárna, a form of Durga, with four arms, holding a pot, a rosary, a spike or bad, and with her hair in the jatâ or ascetic style; it may possibly, however, be a form of Lakshmi. (2) The next is known as Balaji, a form of Siva who slew Indrajit or Meghanada, the son of Ravana. One version of the Ramayana ascribes this feat to Lakshmana, and this figure, like Vishnu, is four-armed, with club, chakra or discus, silk or conch; and a suppliant and small female figure appear in front of his club. (3) Vishnu as Krishna, four-armed, with the sankh and sword, having his foot on the throat of the serpent Kaliya, and holding it
1 A representation of the descent of the Ganges and Jamna is found at Udayagiri in Bhopal. See Cunningham's Arch. Survey Reports, vol. x, p. 48, and plate xviii.

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30
ARCHEOLOGICAL SURVEY OF WESTERN INDIA.
by the tail. (1) Varâla, the boar incarnation of Vishiņu raising Prithvî, the earth-goddess; he is four-armed, with chakra and sunkh, and has the Naga or snake under his foot. (5) A four-armed Vishnu on Garuda, the winged man who carries him. (6) Trivikrama or Vamana, the dwarf avâtara of Vishnu, somewhat like the representation of the same subject in the Das Avatara Cave, and in the second and third caves at Badami, and at Mahavallipuram ;' he is represented with six arms, holding a long sword, club, shield, discus, and conch, with his foot uplifted over the head of Bali holding his pot. (7) A four-armed Vishņu as Krishna, upholding the lintel of the compartment, intended to represent the base of the hill Govardhana held up over the flocks of Vraj. (8) Sesha Narayana, or Vishnu, reclining on the great snake, with a lotus springing from his navel, on which is Brahma. Five fat little figures are carved below. (9) Narasimha, or the lion avatâra of Vishņu, tearing out the entrails of Hiranyakasipu. (10) A figure with three faces and four irms trying to tear up a linga. (11) Siva, four-armed, attended by his vehicle, the bull Nandi; and (12) Arddhanârî, the androgynous personification of Siva, four-armed, and attended by Nandi.
Following the nineteen sculptures in the east corridor (189 feet in length) from south to north, we have--(1) Siva, locally known as Kala Bhairava, four-armed, with the trisula, and accompanied by a small figure of Parvati, whose hair is dressed in a peculiar style. (2) A god stepping out from lotuses, with a small figure of a goddess holding him by the finger. (3) Siva, four-armed, with the trisula, beside Pârvati, with one right hand on her head and the other on her breast. (1) Siva, four-armed, with the trisula in one of the left bands, and gandharvas above and other attendants below. (5) Siva dancing on a dwarf, with a long-shafted trisula in one of his left hands. (6) Chanda, or Siva Dhûrjati, locally called Bhupala Bhairava, with only a ribbon over his thighs, a trisula over his right shoulder, a begging-bowl in the left hand, and a damaru or small drum in the right, with Parvati in front of him. ( Śiva or Bhairava, four-armed as usual, holding a cobra, with Nandi on his right and Pârvati on his left hand. (8) Śiva again, and Nandi. (9) Brahma, with his hansa or sacred goose, three-faced and four-armed, with the ascetic's water-pot (kamandulu) and rosary (japa-málá). (10) Śiva, with a cobra, and Nandi. (11) Visliņu, four-armed, with sankh and lotus; also a worshipper with his hands clasped. (12) Siva, holding the trisula, with Nandi and a worshipper. (13) Siva, holding a snake and a lock of his hair, while the Ganges, perhaps, is represented as flowing from it and down the outside of his arm; Pârvati is at his left side, and an elephant" at his right. Above is a figure like Brahmâ, but only one face is now distinct, and overhead is a gandharra or vilyádhara. (14) Siva in a linga, with Brahma and Varaha. (15) Perhaps Siva, with four arms, humaru, club, and bell, but no third eye. (16) Siva and Pârvatî sittiny
1 For the legend, sec Harirarea, $ 68.
? See Arhovl. Report, vol. i, pl. xxiii, fig. 1, and pl. xxxi; Care Temples, p. 150; Iml. Ant, vol. vi, p. 356 anil plate, tix. 1.
Hurrat , $74; Growse's lathar, 1. 58.
+ Similar figures are found in the Undavalli Care, in the Yamapuri Cave at Mahavallipuram, and in the l's Avatara Cave (Cave Temples, pp. 101, 146, 138).
5 This supersedes the lists given in Cave Temples, p. 112. Sir Charles Mallet must have followed the information of the ignorant native guides.
. Gajasura ?
- Compare the sculpture in the Das Avatara Cave (C Temples, p. 437), and for the legend see Jour. R. ds. S., vol. ix, p. 91 ; or HI. IL Wilson's Worlu, vol. ii. 211; my Elephanta, $ 56, n. 10; also the Channalusar Purina in J. Dom. 1. R. A. Soc., vol. viii, p. 112.

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ELURI: KAILIS ROCK TEMPLE
together, and Nandi below. (17) Siva or Sadasiva, with six arms, going to war against Tripurasura or Taraka : Brahmå drives him, armed with trisulu, club, bow, and quiver, in the sun's chariot, with the four l'eddus as his horses, and Nandi is represented on the top of the club). (18) Virabhadra, six-armed, holding up his victim Ratuầsura, with damru. bowl, and tribula, and accompanied by Parvatî, Kali, a goblin and vampire. Every drop. says the myth, of Ratnasura's blood that fell on the ground produced another Asura like himself. (19) Siva, with Parvatî at his left side, and laying his hand on one of hers. while he has a flower in another, and Bhringi, his skeleton attendant, waits below.
Turning into the north corridor, which is 120 feet long and has twelve sculptures, we have—(1) Siva springing from the linga to protect Markandêya from Yuma, the god of death (plate xxiv, fig. 2). (2) Sira and two worshippers, one of them a huntsman with a bow (plate xxvii, fig. 1). (3) Siva and Parvati, the latter with a very large chignon, playing at chausar; below are Nandi and eleven gana (fig. 2). Siva and Parvati sitting together; Narada below is apparently playing some wind instrument. (5) Siva and Parvatî above the latter, with her arm entwined in Siva's; Råvana has been begun below but never completed. (6) A human figure called Rishi Muchliukunda, with two arms, and a bag on his left shoulder. (7) Siva and Parvati seated facing one another, as if he were speaking to her; nothing below. (8) Siva, four-armed, with snake and rosary, and Sandi on the right. (9) Siva and Parvatî seated, and Nandi couched below (fig. 3). (10) The same pair, with a linga altar between them, and Nandi couchant below. (11) Siva with Pârvatî on his left knee, and a seated and a standing figure below. (12) A linya with nine heads round it, and a kneeling figure of Råvana upholding the vali in which it is, and cutting off his tenth head in devotion to Siva.
PILLARS. Of the pillars in Kailasa, some specimens were given in the Cure Temples (plate lxxxiv); we here add some further examples. In plate xxviii, fig. 1, is another pillar from the great mandapa, while fig. 2 is one of the pilasters from the side walls. Fig. 3 is an example from the lower storey, under Lankesvara, from the apartment (11) in the north side of the court (Care Temples, plate lxxxi). Above a moulded base the lower half of the square shaft on the side facing the court is carved, below with three capering yanus in luxsorilievo in small ornamented panels, and above in a central panel a human figure standing with a trisula in his right hand; the border of this panel, the edges of the pillar opposite to it, and a pretty broad band above it are carved with much care and considerable taste. An extended plain bracket surmounts the shaft under the architrave above.
LANKESVARA. On plate xxix, fig. 1, is given one of the four pillars that surround the central area in the Lankośvara. These massive piers, with the short shafts square to about half their height, and bold capitals and brackets, produce an almost Egyptian effect of solidity and grandeur, unlike anything else eren in the cave architecture of India. The floor of the central area in this hall is somewhat raised above the surrounding aisles, but the roof is correspondingly elevated by a double architrave surrounding it, and shown in section above the pillar, and also in plate xxiii, fig. 1.
1 One of the outer range is given in the Cart Towples, jilate lxxxiv, fig. 1.

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IRCHEOLOGICAL SURVEY OF WESTERX INDIA.
The sculptures in Lakesvara have been executed with great care and minute detail, but most of them have been very much injured by Muhammadan iguorance. The figure of Siva dancing the Tamara in the end of the front aisle has often attracted attention, and is represented in plate xxix, fig. 2, where the elaborate headdress in which is fixell a skull and the crescent moon, the necklace, armlets, and jewelled belts may be studied. He is represented with six arms, of which the right front one, which was probably bent forwards, the back one bent downwards and forwards, and the front left one are all broken off, as is the whole of the left leg and the lower half of the right one, which appears to have been twisted quite round.
On the back wall is a series of the principal great gods of the pantheon in six sculptures, of which three are represented in plate xxx. Fig. 1 represents Sûrya or the sun-god at the east end of the wall with his two wives and two male attendants, his sons, the Aświns. He holds two lotuses growing out of his hands, wears a diadem, and necklace hanging down, with earrings and a girdle (viyanga), but it can hardly be said that in this case he is "clad in the dress of the Northerners, so as to be covered from the feet upwards to the bosom," as in Varaha Milira's directions for making his image.
Fig. 2 represents Umâ or Pârvati, the consort of Siva, four-armed, and performing tupas or ascetic penance between two fires, while holding up a linga--the symbol of Sivain oue right hand, and an image of Gaņešu, his reputed son and chief of his followers, in one of the left hands. There are traces uuder her feet of a crocodile, which being the emblem of Ganga, may also be used by Unå.
In the middle compartment on this wall (fig. 3) are the three Dii Majores of the Brahmans--Brahmâ, Siva, and Vishņu--each four-armed, but damaged in their hands, which probably held the usual symbols borne by each god. Brahmâ is represented with three faces—the fourth is supposed to be behind the central front one. His consort, Sarasvatî, the goddess of learning, is one of the figures beside him, and his ráhana or vehicle, the hansa-swan or goose, is on his left. The central figure is Siva holding up his trisulu, called Pinaka, and a snake, with Nandi by his side and an attendant. The third is Visliņu, with the discus and a great club, attended by a male and a female. An injured figure of Varâha-the Boar avatâra of Vishịu-on this same wall is represented on plate xxix, fig. 3, with his left foot on the heads of a pair of Nagas.
THE CHAPELS, SIKHARA, &c. It should be noted that while in Rârana-ka-khai, Râmêsvara, Dumâr Lena, and other cave temples, there is a clear passage for pradakshind or circumambulation of the shrine,
1 The figure of Siva from this panel was drawn ly Cunt. R. X. Grindlay for the Hon. Lady Hooil in 1813, and afterwards published in 1898 in the Trans. R. dsiat. Sor., vol. ii, p. 326, but like his other drawings made at Elura, he gives the figure quite an artistie finish of a high unler.
? A figure of Surya anl his two wives all ears in one of the tympana of the Ananta Cave on the Khandagiri hill in Orissa, not represented in the pilotograph from the casts in Cave Temples, pl. i and p. 72. It is over the left lour, and is specially interesting froin its close resemblance to the sculpture in the small very early Vihara at Bhaji (Cheer Towplex pl. xcviii and I'515, 52: Reports, vol. iv, r. 6 and pl. vi, fig. 1, and vol. ii, p. 215, anul pl. lxr; Im..Int., vol. ix. 116. When not in his chariut. Sürya is frequently attended by two arned males as well as by his wives.
3 Or ariyaviy, from the Daktrian ami Zend airpervikun , equivalent to the Parsi lusti.-- Haug's Essays, West's el., 286, 396.
Drihat Santhita, lviii, 16.

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in the Kailasa this is provided for by the doors in the east wall leading on to the terrace on which are also fire small shrines, with but little carving on their walls beyond the drúrapálas at the doors, which, in the case of the one on the north side, are females, with a pair of figures kissing on each side. In all of them, except that on the south side, there are altars for images; in that one there is a bench round the back and enels, and it was probably devoted to the Matris, which woull be arranged along the back of it as in the Yajna sala on the south side of the court, with Skanda or Siva in the left end, and Gamesa and the skeleton figure on the right. The two at the corners would probably be devoted to Chanda and Rudra or Dhairava—both terrific forms of Siva—the former represented as nude. having Siva's third eye in his forehead, with two or four arms holding the trisula and a joy or damaru, and his hair wound up in the jutá style. To him the refuse of the offerings were thrown. On the east side was the shrine of Parvati, the suikti of Sira." The warmpilus of this shrine are armed with swords. It is doubtful to whom we ought to assign the fifth shrine on the north side opposite to the Sómasútru or outlet for the water from the linya inside the temple,-possibly it was dedicated to Sûrya or Narayaņa. In an advanced recess in the corner of the temple facing this is an image of Ganapati or Vinayaka, the ellest son of Siva; and on the facade above it is a figure in alto rilievo with its face to the wall. The image in the corresponding recess on the south-west of the temple is perhapis meant for Vishnu.
The base of the sikhara itself is carved in panels, six on each side, and five on the back, containing various forms of Siva, such as Chauda, Arlhauâriśvara, &c., Durga and Vishnu, standing on fat dwarf figures (perhaps Asuras), and with other attendants. At the upper corners of the panels are conventionalised figures of peacocks with long tails; and above the panel is usually a Devi seated cross-legged. Two of these compartments are: represented in fiys. 1 and 2 of plate xxxi, the first being the second panel from the door of the mandapa on the south side, and the other the sixth. The slightest examination of these two drawings will serve to convince any one of the exceeding richness and beauty of the foliage orer the panels, and of the great variety of floral ornamentation on the side pilasters. And these are only two out of seventeen, all carved in similar style, and all varying in details.
Fig. 3 represents a similar panel on the south side of the basement of the Nandi porch, just in front of the great temple. It has contained a representation of Narasimha struggling with Hiranyakasipu; but being more exposed, has been much injured. The compartment is surrounded by carved pilasters and a frieze, round which are numerous figures looking on at the struggle.
On the roofs of the Gópuram in front, of the Nandi-mandapa before the temple, and of the great hall itself, figures of lions and fat dwarfs are place. Two of these lions from the roof of the great hall are represented on plate xxvi, figs. 3 and 4. They stand about + feet high, and are executed in the same bold style as the similar figures of lions and elephants round the base of the temple.
1 Marked E' on the plan, Car Temple plate Ixxxi.. 2 See Iul. Int., vol. ix, p. 119 nute, and 119.
3 The temple of Govindesvara at Sinar, twenty miles south from Sisik, is arran 1 thus:-The great central temple dedicated to Siva faces the cast in front of it is the Vandimandaja : in the S.E. corner of the surrounding court is the shrine of Vishnu; in the X.E that of Surva : in the X. W. of Maki-lamantini or Jaydan bâ; and in the S.W. of Garajati.

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Over the gopuram were fat dwarf figures represented as blowing sankhs. But as they had been carred separately, most of them have been thrown down and destroyed.
One is represented in the woodcut No. 15. Similar figures are also carved on the roof of the mandapa in the court of the Das Avatara cave, and on the roof of the second storey of the Undavalli cave near Bezwadà.
SHRINE OF THE RIVER GODDESSES. In the north side of the court, behind the elephant, is a shrine about 23! fect long by 9 feet deep and 11 high, with two free-standing pillars in front (one of them broken) and two in antis (woodcut No. 16). They have moulded bases, 16-sided shafts, and massive capitals with
a double bracket above. The floor is about 5 feet above No. 15.-Dwarf Figure from the roof of the the level of the court, and is approached by five steps, puram of Kail.isa.
with an elephant's head and front feet on each side of them, and the rest of the front of the podium is divided into three panels on each side, containing small sculptures much abraded. At the ends also have been the heads, &c., of elephants,
and the façade was terminated by gigantic durarapalas with several arms, and wearing high mukutas or tiaras. The back wall of this shrine is divided by half pillars into three large panels, with slender colonnettes on each side carrying makaras, and richly carved tôranas above, each containing a tall figure of a goddess in almost entire relief, symmetrically arranged, and which have been carved with unusual care, and though anything but classical in their proportions, they are about the best here, but have been much abused. The central one, which is perfectly erect, stands on a makara, with lotus leaves and
flowers behind her, and may X. 10.--Shrine of the River Goddessts, frun a photograph.
therefore be supposed to represent Gangá; the other two lean slightly towards her,-the one on the left standing on a lotus flower, with creeping plants and birds among their leaves, and that to the right
1950
Cac Temples, 1 102.

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ELURA: KAILASA ROCK TEMPLE.
on a tortoise (kurma), with creepers and water plants behind, -the two representing the river goddesses Sarasvati and Yami or Yamuna respectively."
35
The frieze of the façade of this chapel has been divided into seven panels; in the central one are three figures, and in each of the others a male and female seated together. These may have had some connection with the seven river goddesses of mythology, but they are too much abraded to make out who they are. Over these are some mouldings, and above, in front of a quite unfinished cave, is a low rail carved with water-jars, separated by two little colonnettes. A part of this rail, cut away in the centre, seems to indicate that it was approached by a ladder.
SCREEN IN FRONT OF THE COURT.
The screen and front of the gopuram or entrance gate to the court is also covered with mythological sculptures in recessed panels, and the outer side of the screen is crowned by a crenellated parapet. Each crenellation is carved with three bells, and below them is a string of small figures in high relief on foot, on horseback, in carts, fighting, &c.
Commencing from the north, the large panels in order are-(1)one never advanced beyond two slight incisions in the rock; (2) the next contained a large figure of some form of Śiva with ten arms, holding up what somewhat resembles a bowl, with flames rising out of itall below the waist of the figure is destroyed; (3) a tall three-faced figure, probably Brahmâ. Turning a corner, on a portion of the wall facing south, are three panels; (4) containing a tall linga, as in the Dâs-avatâra Cave, with a triple Śiva looking out of it; Brahma is represented ascending on the left side, and also standing lower down; Vishnu is on the right side, and a four-armed figure over his head, with a gandharva still higher, but the Varaha below and the base of the linga have been destroyed; (5) a tall four-armed deva, with something like a chakra in the left hand, and a bull's head to the left; (6) another tall four-armed figure, but all insignia are gone. The line of wall again turns to the south, and (7) the first compartment is a large deep recess over a drain from the court, but it is so rotted away that it is impossible to say whether it contained any sculpture; (8) the next seems to contain Kärttikêya or Skanda, the war-god, the Hindu Mars, and second son of Siva, born to destroy Taraka, an Asura who became dangerous to the gods." He is represented two-armed, riding on his peacock Paraváni, with an arrow or sceptre in the right, and perhaps a bird in the left hand: the lower portion of the panel is destroyed. (9) A two-armed figure on a ram-headed animal with a mane-perhaps Agni, the god of fire and regent of the south-east; (10) a similar figure on a deer, and may therefore be Varuna, the Hindu Uranus, the regent of the west; (11) another on a makere, with a very large head. This may be Nirriti, the regent of the south-west.
Just behind the porch is (12) a Naga figure with five hoods as a sort of dwarapala,
1 Like many other points in Hindu mythology, the number and names of the river goddesses is quite unsettled. In some of the classics they are called the Sapta-Sindhava, but for these even the Mahabharata gives two different enumerations. In the Peninsula they are often reckoned as (1) Yamuna, (2) Sarasvati, (3) Ganga, (4) Narmada, (5) Godavari, (6) Kâvêrî, and (7) Kanya; but in different districts one or more of the followingSindhu, Satudri (Satlaj), Gomati, Krishna, Tungabindra, Tâmraparni, and Mannêri-are added or substituted for others in this list. The first three-Yamuna, Ganga, and Sarasvati-however, seem to have been the favourites, and generally accepted.
2 See Griffith's beautiful version of the first seven cantos of the Kamaru-Sambhara or Birth of the War God (Trübner, 1879).

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having a lotus bud in the left hand. On the north side wall of the entrance is a Nâganî with one hood and a dwarf female attendant, and a gendharva over her right shoulder. (13) On the jamb of the porch is a tall female-a river goddess-standing on a makara as Ganga, and resting her arm on a smaller female. A fat gandharva figure with a large chauri is over her right shoulder; that over the left has been broken away, except the chauri; and below is another attendant figure. (14) On the other pilaster has been a similar sculpture. (15) On the south side of the pilaster and return of the wall are a Nagani and a Naga figure as on the other side, with large chauri, and one gandharva over her head and two over his bearing garlands. (16) Indra, the god of the firmament and regent of the east, on his elephant Airâvati, with Indrânî, Aindri or Sachi behind, and above are gandharvas. This panel is much weatherworn. (17) Behind this a little, in a narrow compartment, is Yama the "Restrainer," the god of death, the Pluto or Minos of the Indian Pantheon and brother of Yami, the regent of the south, mounted on a buffalo. (18) The next also contains a riding figure, but much abraded and indistinctpossibly Vayu, the regent of the north-west, who should be mounted on a Bhúta or spirit. (19) Nothing is left in the next compartment, but it also was probably occupied by another of the eight Dikpälas or regents-Kuvera or Isann.
Over the water drain is (20) a large figure of Varaha, with eight arms, and five gandharvas above; the figure of Prithivi or Bhumidevi is destroyed. Then, on the return of the wall facing north are three panels-(21) Vishnu on Garuda; (22) an eight-armed Trivikrama as at Bâdâmi, but destroyed below; and (23) a figure in violent action. On the west face again are (24) Narasimha, the man-lion avatára of Vishnu, with long curls; and (25) an eight-armed figure in violent action, possibly Siva in the Tandava dance, with Parvati at his right side.
36
To the south of this is a rock-cut cistern about 22 feet by 19.
On each side the entrance to the porch is a sitting figure with one foot up (lalitásana mudra)-perhaps they had beards; and on the front of the inner jamb on each side is a female with umbrella and chauri overhead, and a small attendant. Passing through the Gopuram, in which the two pillars on each side dividing the passage from the guard-roonis have been neatly carved, we find the jambe at the east end have fat figures on the front, one holding a sankh and the other a bud, out of both which a long torana or roll extends over their heads. Above are two gandharvus, and their seats are supported by lions. On the east faces of these jambs are gigantic four-armed Rudras with clubs, as dwârapalas. In the inner porch of the gateway are two sculptures in panels with side pilasters and pediments; that on the south wall is the Mahishasurî already referred to, and on the north side is a Ganesa with female chauri-bearers.
On the outer side of the north wall of the porch is the large Mahishasuri already described, and on the return wall of the court are-(1) A two-armed figure with high makata, and his right hand pressed against the upper corner of the compartment. (2) A male and female, supposed to be Kama, Manmatha, or Makarakêtu (Eros, Cupid), and his wife Rati or Rêvâ (Venus): these are represented on plate xxvi, fig. 2. (3) On the return of the wall is a single male figure. (4) A female with the hair gathered in a lump on her left shoulder. (5) A male and female with a slender palm-tree between them, the stem
1 These figures appear in the roof of the verandah of the great cave of Balami also. See Ind. Ant, vol. vi, p. 361 and plate.
The apartment markel A on the plan, Care Temple, pl. lxxxi.

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37
notched. (6) Vishnu mounted on Garuda. (7) Over the drain a figure sitting on a chair with another kneeling in frout.
To the north of this is an unfinished cave in the screen, with four stout short pillars having thick compressed cushion-shaped capitals: one pillar is destroyed.
On the south side of the entrance porch, and partly on the west wall, is (1) a large sculp ture of Śiva in the chariot of the sun, drawn by the four Vedas as horses, with Brahma as his charioteer, armed with the bow (Himalaya) which he draws against an enemy. This sculpture is also found in the Dâś-avatara cave. In front of him in several panels are groups of small figures; in one in front of the horses his enemies seem falling in confusion. (2) Behind this is a four-armed figure with a peculiar turban, and holding a large fruit in his hand. The next figures (3 to 6) are apparently Rudras in various attitudes. (7) Over the drain are a small figure bending a bow with his feet; a larger one, apparently about to strike or push away a female; and some others; and (8), to the left, a male and female seated on a simhasana. Next to this is an unfinished excavation in the south end of the screen, apparently intended for a small open room or shrine.
It is evident from the number of unfinished excavations, especially on the south side of the court, that for long after the great temple was finished, works were carried on at different points in the surrounding rock, adding shrines and images, until perhaps the inroads of the Muhammadans finally put a stop to them.
CHAPTER V.
ELURA BRAHMANICAL CAVES NORTH OF KAILASA.
CAVES XVII. - XX.
Of the caves to the north of Kailasa, except in one or two cases, not much need be added to what has been said in the Care Temples (pp. 438-448). Across a deep ravine and watercourse, we reach Caves XVII., XVIII., and XIX., of which the first two are in close contact. No. XVII. is locally known as the "Chhota," or small "Dumar Lena," though it has no resemblance to the larger cave passing under that name. The ground-plans of it and of No. XVIII. are given in plate xxxii, fig. 1, from which it will be seen that it had a low court in front with a corridor round it, now fallen in and ruined. Eight steps rise up to the porch (now also fallen) on the level of the hall, the front of which is supported by four pillars (see plate xxxiii, fig. 2), and the roof inside by eight heavy square ones of various patterns, one of which, from the back row, is represented in plate xxxiii, fig. 1. It has never been finished above, but the drawing shows how it was probably intended to complete it. These pillars may be compared with the pilasters in Ravaun-ki-Khi (Care Temples, plate lxxi, fig. 1). The front and back aisles are fully 2 feet longer than the middle one, being 64 feet, and the depth of the hall is 37 feet. In the back wall are three doors, two opening into the pradakshid passage which surrounds the shrine, and the central one into the shrine itself, which contains a large square altar and a decayed linga. The only sculptures on the walls are Mahishamardini in the south end of the front
1 Compare with this the plan of the temple of Papanatha at l'aṭṭadakal (Arch. Sur. Bp., vol. i. plate xlvin.

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aisle, four-armel, with trisule and sword, and holding by the nose the buffalo, which repre sents the Asura; Ganapati, also four-armed, is carved in the north end.
On the rock on the left side of the court, at the end of the façade, is a figure of Brahmâ with three faces, represented in plate xxxvi, fig. 1.
Cave XVIII, close to this, has an irregular-shaped court in front, in the middle of which is a shallow trough. The cave is raised above the level of the court, and has four unfinished pillars in front. The hall is 67 feet long by about 22 deep, having a slightly raise platform inside. At the back is an antechamber 30 feet by 10 feet, with two square pillars in frat and corresponding pilasters, having low bases of two members. The shrine has no polerkabig path round it, and contains a round structural él or altar-a modern form-and a lago.
3
Cave XIX. (plate xxxii, fig. 2) is a very irregular and much-decayed eave, with a wide entrance. The hall inside is 43 feet wide by about 32 feet deep, and the shrine is surrounded by a prilakshina passage.
Close to the next is a ruinous cave filled with earth and hidden by underwood. Cave XX. (tig. 3) is little more than a shrine, with a wide passage round it, or a hall 37 feet wide by 30 feet deep in the middle, of which a block has been left 20 feet by 16 hewn into a shrine, the front of which has been given in the Cce Temples, plate lxxviii, which shows the carving on the different members of the door mouldings, and the figures on each side so very analogous, even in details, to what are found in similar positions in the Bauddha caves, as may be seen by comparing it with the front of the shrine in Cave VI. (Care Temples, plate Ixi), that one is almost forced to allow that the one seet may have copied from the other. On a platform outside is a square base, either of a dhrajastambha or the remains of a pedestal for a Nandi. Lower down by 6 or 8 feet, and farther back, is another small platform.
CAVE XXI-RAMESVARA.
Close to the last is the cave No. XXI., known as Ramėsvara, which has been described in considerable detail in The Care Temples (pp. 438 f., and plate lxxvi, fig. 1, and lxxvii). The plan, it will be remarked, is similar to that of Cave XVII, but without the pillars in the floor of the hall, and more closely resembling that of Cave XXVI. It has two columns in front of the shrine, with corresponding pilasters; one of the columns is represented in plate xxxiii, fig. 3. They are somewhat of the Elephanta type, but in place of the bracket is a deep square abaeus, carved on the front and sides with figures. The lower half of the shaft is square, the upper portions of it being covered with bands of rich tracery. Over these is a deep octagonal member, with dwarfs on the corners; and the upper portion of the shaft is circular, with forty-nine very shallow or flat flutes. The side chapels have each a similar pair of columns in front, but standing on a raised platform, and with only a thin square abacus above.
The façade of the cave is shown in plate v. It has a low screen wall in front, now much rotted away from the accumulation of earth that long lay against it. Below was a moulded base to about the level of the floor inside. Above this is a string-course of auimals, chiefly elephants. The face of the rail over this is divided into narrow panels by broad vertical bands of arabesques, each panel containing a standing male and female figure, and over this runs a coping of festooned carving. From this wall rise the pillars which support the roof, of which the lower portions of the shafts, partly embraced in the

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7.2 PPVC
RÂMÊSVARA CAVE-TEMPLE AT ELURÂ.

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ELURA: RAJESVARA CIVE TEMPLE.
39
.
wall, are square. Just above the screen is an octagonal member with dwarfs on the corners, then the shafts become circular, with flowered members and flutes. The capital has drooping ears and a square abacus, over which are long brackets, carved in front with human figures and animals, somewhat in the style of those in the later Ajantà caves; but bere there are added massive struts supporting the brackets, each consisting, as shown in the accompanying woodcut (No. 17), of a tall female figure standing under foliage, and attended by two small figures. Similar figures on a larger scale are carved at the ends of the façade, and there they are at once identifiable with the river goddesses, the one at the left end standing on a makara, the symbol of Gangå.
Over a plain architrave is a frieze with sunk panels containing dwarf figures, divided by compartments carved in arabesque desigus.
oil AS On the whole, this has been the most richly carved façade of any of the Elurâ caves, or indeed of any Brahmanical cave in India.
It is in fact the architectural arrangements of this façade that constitute the principal interest in this cave; for besides its intrinsic beauty, its strongly marked characteristics
No 17.-Pillar in front of Kamisvara, front a photograph. point it out as the style of a well-defined but limited architectural epoch. It is reproduced with some changes in Cave III. at Badâmi, und to a certain extent in No. XX. at Ajantà, while, as the Badâmi cave has a well-authenticated date of 579 A.D., we may feel certain that these Elura and Ajantâ caves were executed within a few years of that date-either before or after. Looking at the extreme elaboration of the Râmêśvara façade, it would appear to be subsequent to the Bâdâ mi caves, but the difference can hardly be fifty years, and in the Ajanță example it may be even less. We have thus a thread of chronology ruming through the dates of the principal series of caves of the utmost value for determining the relative ages, at least of the later examples of care architecture.
In the chapel in the right end of the hall of this cave is carved one of the large groups of Saptamâtris found also in Råvana kå Khai and in Cave XXII., in this case covering the three inner walls of the room, and of which the Matris on the back and the group on the right end wall are represented on plate xxxiv, fig. 1. The vâhaņas on vehicles of the different mother goddesses that were carved below each are now almost entirely destroyed, but there is no difficulty in recognising them by their positions and the symbols they have in their hands. Ganapati sits at their head, and then in order from right to left they are(1) Châmundâ, (2) Indrâņi or Aindri (having a vajra in her hand), (3) Varâhi, (+) Lakshmi or Vaishnavi (with the sankha and chakra), (5) Kaumari or Sênâ, (6) Maleśvari, and (1) Brâhmî or Sarasvatî. Each of them had a child (except, perhaps, Sarasvati), but they are all more or less defaced. At the end sits Mahadeva or Siva, with Nandi below, and on the wall to the left is Śiva engaged in the Tandava dance, which he performs at the destruction of the world, with attendants. On the other end wall is the ghastly group represented to the right, in which Kali and Kala--the goddess of destruction and her partner-are probably represented. The panel is much injured below.

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ARCHEOLOGICAL SURVEY OF WESTERN INDIA.
A very similar group of the Matris is found in the south side of the next cave No. XXII, and is represented also on plate xxxiv, fig. 2. Here Chamunda is represented in a ghastly skeleton form, while Varahi, like her husband, has a boar's head, and Sarasvati or Brahmi has three heads and holds a bottle. On the right end wall are Kâla and Gaṇeśa, and on the left Śiva.
40
The high pedestal in front of the cave, on which a headless Nandi still couches, is carved on the sides with goddesses also and attendants.
CAVES XXII-XXVII.
Close to Râmèsvara, and somewhat advanced in front of it, is Cave XXII., known as Nilakantha ("blue-throated "), a name of Siva. The plan of this cave is given plate xxxii, fig. 4. It has a somewhat irregular court in front, about 42 feet each way, in the centre of which, on a high base, stands the Nandi mandapa, now somewhat ruined. The plan somewhat resembles that of Cave XVIII., but with pillars introduced into the hall and in front of the side chapels. On the south side of the court is a low chapel containing the sculpture of the Matris referred to above, with a skeleton Bhringi or Kâla with two arms and outspread hair; Ganapati and the seven mothers-the last, Brahmi, with three faces and holding a bottle; and, lastly, Siva. All the Matris and Siva have four arms each. Among other sculptures in the vestibule to the shrine is the figure of Gangå represented in plate xxv, fig. 5.
The next two caves (Nos. XXIII. and XXIV.) are close to the last, and are rather a series of small shrines than cave temples. They are probably of later date than any of the larger ones. The ground-plan is given on plate ii, drawn to the same scale as the others, from which it will be observed that they are huddled together and contain six round rédis, and in one of the shrines in No. XXIII. is a trimurti on the back wall (figured in Cave Temples, plate lxxv, fig. 2). In Care XXIV. is an injured figure of a River goddess represented on plate xxv, fig. 4.
From these last to Cave XXV., which is known by the names of Kumbârwâdâ and Súrésvara, is about 70 yards. The plan is given on plate xxxv, fig. 3, which shows that, behind a hall about 90 feet long, of which the front has fallen away, is a smaller one, 57 feet wide by 23 feet deep and 13 feet 10 inches high, with four square free-standing pillars in front and two in antia. Inside are two others, with corresponding pilasters on the side. walls; and in the back, separating it from the antechamber to the shrine, are two more free-standing pillars, with two in antis. These pillars have brackets, and on the front of each bracket a male and female flying figure. On plate xxxv, fig. 2, is a drawing of the side of one of these pillars, showing how the bracket is separated from the capital of the shaft by a neck narrower than the shaft itself, and illustrating at the same time the deterioration in style and taste which the proportions and details indicate.
On the roof of the antechamber is the figure of Surya, the sun-god, in his chariot (Care Temples, pl. lxxxiii, fig. 2), from which the temple derives the name of Suréévara. The shrine door has a Dravidian moulding on the frieze, and by the jambs are tall dwârapalas standing on lotuses with very bushy locks and long swords.
The next cave, No. XXVI., is very like the Râmêsvara in plan (pl. xxxii, fig. 5). The hall is 74 feet wide by 25 feet deep and 16 feet high, with four pillars in front. At each end is a large irregular-shaped room at a somewhat higher level, with two square pillars and pilasters in front, and at the back is a still larger one, about 40 feet square, also with two square pillars and pilasters in front. In the middle of this stands the shrine, about

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ELUR: DUMIR LEXA CIVE-TEMPLE.
16 feet square inside, and with a circumambulatory passage about 9 feet wide all round it. The entrance of the shrine is richly ornamented with sculptured figures, and female statues stand by the pilasters on each side the entrance to the side passages.
The next is a large cave, No. XXVII., known as the Milkmaid's Cave, the plan of which is given on plate xxxv, fig. 4. The front has been supporteil by six plain octagonal pillars with bracket capitals, but all of them have fallen away except one at the left end and a fragment of one at the right end. The verandah is about 69 feet long by 8 feet 4 inches wide, with several sculptures on the back wall and in the ends. In the walls of the hall three cells are rudely excavated. The carvings are mostly Taishnava in character, and the arrangement of separating the ball from the verandah by a wall pierced by three doors and two windows is more in keeping with the plan of a Bauddha cave than any of the other Brahmanical caves at Elurâ.
CAVE SXIX.-THE DUMAR LEXA or Sita's CHAVADI. This is the most northern of the Brahmanical caves at Elura, and certainly one of the finest of the class to be found anywhere. It is also interesting from its being as nearly as may be a duplicate of the celebrated cave at Elephanta, and also of the less kuown one at Joyeśvari. All three are executed on the same plan, the light being introduced from three sides. which is no small difficulty in care architecture, but was necessary to produce the effect of the structural buildings from which they were imitatel.
This one is the best preserved and largest of the three, but not the earliest, though the Jogèśvari one (plate xlvi) is certainly the most modern, and, except the Kailasa which is exceptioual, is probably the last of the great cave temples of India.
A ground-plan of this splendid cave was given in Cave Temples, plate lxxix, and we now add a section (plate xxxvii, fig. 1) through the middle of the cave from north to south, showing the front of the shrine, with the dwerpalus at its coruers, and the pillars and sculptures on the east side. It is 148 feet wide by 119 feet deep, and 17 feet 8 inches high.
The description in Care Temples, p. 446 f., gives a succinct account of the details am dimensions of this temple, but to give a full description of all its mythological representations and other sculptures, though these are much fewer in proportion to its size than any other cave temple here, would fill half this volume. Plate xxxviii, fig. 1, represents on it good scale the marriage scene on the east wall of the south portico. The two chief figures are Siva and Pârvatî or Umâ, each with a flower in the left hand ; below, to the right, kneeling by the sacrificial fire, is Brahmå, with three heads, acting as priest; to the left are Jena and Himalaya, the mother and father of the bride, with a flower and a cocoa-nut. Above are the gods and goddesses; on the left are-Vishnu mounted on Garuda, Yama on a buffalo, Varu or Soma on a stag, Agui on a goat, and perhaps Varuna ; on the right are Indra on Airavati, and Nirriti on a makura. Among the goddesses are probably Gangi
"She in her goddess share divinely fair.
And Yamuna, sweet river-nvmph, were there, Fanning their lonl, that fancy still might leen Swans waveil their pinions round each Lady of the Stream."
1 Seu Care Temples, l'p. 111. 115.

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ARCHEOLOGICAL SURVEY OF WESTERN INDIA.
"High o'er their heads sweet Beauty's Queen displayed Upon a stem of reed a cool green shade,
While the young lotus-leaves of which 'twas made Seemed, as they glistened to the wondering view, All richly pearled with drops of beady dew.
In twofold language on each glorious head The Queen of Speech her richest blessings shed; In strong, pure, godlike utterance for his ear, To her in liquid tones, soft, beautifully clear."3
Fig. 2 of the same plate represents the left-hand corner of the shrine showing the dwarapalas with their attendants. At each corner is a similar group, the mukutas of the guardian figures being very richly carved. At Elephanta these gigantie figures are attended by fat male dwarfs, whereas their companions here are females.
The other sculptures here are arranged as at Elephanta, in the ends of the aisles on the three open sides. But as the shrine occupies the central portion of the back area, there are no sculptures on the walls behind it; whereas at Elephanta, the shrine being in the west side of the cave, the back wall contains the three largest and finest sculptures, viz., the great Trimurti in the centre, Arddhanâri and attendants on the left, and Śiva and Pârvati with numerous smaller figures on the right. These have no representatives here. In the north verandah, the sculptures correspond to those in the same position at Elephauta, but are greatly inferior in details. In the east end of it is Siva as a Yogi or ascetic, with a club in his left hand, and seated on a lotus upheld by Naga figures, with two females worshipping behind each, an evident copy from the figures of Buddha. None of the accessory figures are represented here which render the Elephants one so excellent a rendering of Kálisisa's poetical description. The panel in the west end is the Tandava. dance, said to be performed by Siva at eventide to the sound of musical instruments, with his hair loose, stamping with frantic energy, attended by his gana and Pisâchas, when the dust he raises is put on their heads by the other Devatas. The sculpture, however, is very inferior to that on the right of the entrance at Elephanta.
In the west aisle or front of the cave, the panel in the right end is the very frequent one of Ravana under Kailasa, the white mountain, which is the special abode or heaven of Siva. The principal figures in this have not the larger proportions than the subordinate ones, which is usually given them in other representations of the same scene, the finest example of which is to be found under the south porch of the Kailasa temple, where it is really well represented. In the left or north end is an unfinished sculpture of Bhairava, the terrific form of Siva, very effectively represented in the Dis Avatara (see pl. xxii, fig. 2). and also in the west aisle at Elephanta.
In the south aisle or portico, besides the marriage scene already referred to, is a very common sculpture of Siva and Pârvati at play, with numerous gandharvas, &c., above; the bull Nandi and the rollicking dwarfs or Gapa below; Vishnu is represented to the right, and Brahmâ on the left. These two are the best executed of the six great panels. Outside the cave, on each side, is a tall River goddess and attendants.
2 Sarasvati.
1 Sri or Lakshmi.
3 Griffith's Birth of the War-God, pp. 98 and 105.
See Wilson's Hilu Theatre, vol. i, p. xix, and vol. ii, pp. 53, 58, 59, 153; Colebrooke's Essays, vol. ii.
P. 153.

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ELURA: JAIXA CAVES.
CHAPTER VI.
THE JAINA CAVES AT ELURÂ.
It may help to illustrate the chronology of Jaina history and its connection with Buddhism to remember that Nahá vîra, the last Tirthankara, was contemporary with Buddha." The following table brings together the dates belonging to both sects :
RC.
167
Gautama Buddha, born at Kapila vastu . . . . . About 560 Srenika Bimbisira, king of Magadha 4 . . . . . 510-512 Vardhamana, Mahavira, or Jñataputra, born at Chitrakot in Dihar, 510 Gautama became Duddha at Buddhagaya . . . .
525 Vardhamana became a Digambara ascetie . . .
509 Varthamâna became an Arhat or Jina . . . .
196 Ajátasatru, called Künika or Koniki by the Jains . . . . 188-461 Gautama Buddha's Virzina . . . . . .
180 Vardhamana Mahavira's Virran at Pava . . Ldavibhaira, Udayâsra, Vilayin, or Udasin, son of Ajátasatru. 161-137 Nandivardhana, a new dynasty . . . . . Alexander the Great's invasion of India . . . . . in 327 Chandragupta founded the Jaurya dynasty . . .
318–295 Bindusara or Värisära, the Amitrokhates of the Greeksi . .
293-267 Asuka or Priyadarsi, son of Bindusara . . . . .
267-26 Samprati, grandson of Asoka . . . . . . about 22-17 Dasaratha, grandson of Asoka, Sangata, Salisuka, Sómasarman, ani!
Satadhanvan . . . . . . . . . . 217-185 Dridha ratha, the last of the Mauryas . . .
183-IN Pushyamitra, the first of the Sunga dynasty
1N2-152 Dalamitra, Bhånumitra, and Nabováhana .
1:50-1+ Gardabhilla in Ujjain . . . .
71-61
.
107
1 For some notes on Jainism see Care Towplpe, pr. 185 tt. * See S. Harily, Mun. Bull., p. 271; Ind. ant, vol. ix, p. 258.
* This is based on an extract from Merutunga's Vichárusreni in Ind. Int., vol. ii. p. 362, on lemachandra statement (Parisisht parru, viii, 311) that Chandragupta became king 155 years after Maláviru's nirw. .. the dates given in The Caer Temples, pp. 21-26.
· The Ceylon chronicles assign to Bimbisåra the long reign of fifty-two years, and state that he wil murdered by his son Ajátasatru, while both the Taue and latya Purând: nyree in giving twenty-ight year his rule, and after him the Intaycı inserts the names of kanvayann (with nine years) and Bhumimitia il Bhuiputra (with fourteen years), which till up the interval. Bimbizana's name is given a Vilnisára in tin Vishnu P., as Vidhisara in the Bhrigurat. Larsen, Iwl. Alterth. (21. el.) wl. i, p. 59, anu anh. 1. XXXVII For Sreņika or Srenya, conf. Asial. P, vol. xx, . 16; Burnouf, Introd. Hist. Balik. Iwl., 11. 128, 147
The Jaina chronicler gives only 108 years to the Maurya dynasty, and places Mannvira's Virrúno 15. peat hefore Chandragupta's accession, thus giving 31: B.C. (the Seleucidan era) for the latter tvent. This ro's about six years from our usual reckoning; but Merutunga and other writers add sixty for the reign of Palaka: if w.. regard this as a mistake for six, the dates relating to Malavira here will be thrown back six year-hi destil to 173 1.c., just 155 years before Chandragupta (318 B.c.), and all six to the lus cars of the Maury dynast. to which the Purants, lowever, assign 137
* lccorling to the Tayu Purina and the Jaina and Laululha accounts, hic fole:l l'italiputra, anel rului. according to the Purdnas, thirty-three yeurs; but both pulace Dlarlaka, llarskuka or Vansaka het wel Ajita-anti and him, with a reign of twenty-four or twenty-five years. The Bullhists a sign to ljåtasatrli, thirty-tw. var. to 'dayilhalra, sixteen; to Munda, cight: anil to Nagulasukn, twenty-four in succussion. --Burnouf, Intl. l'llixt. Bull. Iml., p. 319 : Jlahan . c. iv. ; Lassen. Iwl. Alterth., vol. ii, Pr. ... 1207.
Athenaeus, xiv, 67: Strabo, Gr. II., i, 9. These were probably kings of lyin and not uf M

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ARCHEOLOGICAL SURVEY OF WESTERX INDIA.
The Jaina caves at Elurâ form almost a group by themselves separated from the Dumar Lena, the most northerly of the Brahmanical caves, by about 400 yards. The group is a small one, consisting of only five caves, two of them unfinished, but the two principal ones are very extensive works.
The first of them, removed a short distance from the face of the scarp, which at the place is very low, is known as the Chhota Kailasa, from the circumstance that, like the great Brahmanical temple, it is not a cave, but a free-standing monolithic shrine, executed in the middle of a pit hewn out of the rock. It is very much smaller, however, than the great Kailasa temple, being only one storey in height, with a very stunted and unfinished tower. The hall is only 36 feet 4 inches square, but, like its pattern, has sixteen pillars arranged in four groups; and the shrine at the back is small.
The second also stands in a pit, into which the porch projects, but the hall, quite unfinished, is under the rock. This temple is filled up with earth.
THE ISDRA SABHÂ. The two principal Jaina caves are very extensive works, superior both in extent and elaboration to any of the Brahmanical caves, excepting of course the Kailasa, and the Višvakarma among the Bauddha ones. Though two storeys in height and extremely rich in decoration, the Indra and Jagannath Sabhâs are entirely deficient in that purpose-like architectural expression which characterised the works of the two earlier religions. They have no cells, like the vihâras, and are nothing like the Chaitya halls of the Buddhists, nor do they suggest the Chavadis, like the Dumar Lena, of the Hindus. Rich and elaborate though they certainly are, the plan is compressed, and all their arrangements seem to result more from accident than to have arisen from any well-conceived design, so that they lose half the effect that might have been produced with far less elaboration of detail.
Their age, too, is certainly considerably subsequent to that of the caves belonging to the two other sects, as if, after the decadence of the Rathod dynasty in the ninth or tenth century, the Jainas had taken possession of the locality and determined to mark the superiority of their religion, which was then becoming so important, by attempting to rival the works of their predecessors. Had they had any real motive in what they did they might have succeeded in this, but the absence of purpose is so evident in all they did that their failure was inevitable.
The Indra Sabha, as explained in the Cave Temples, is, like Kailâsa, rather a group of caves than a single one, consisting of a central two-storeyed cave with a court in front and smaller caves forming winys on each side. The plaus of both floors have been given in The Carr Temples (plates lxxxvii and lxxxviii), and need not be repeated here. But on plate xxxvii, fig. 2, is given a longitudinal section of the cave, which, together with the plans, may enable the reader to form a tolerably accurate idea of its arrangements and architectural style.
The cave faces the south, and outside the court on the east side is a small hall 19 feet br 13 feet, with a low screen wall and two pillars in front, square below and octagonal above, including the capitals. In the ends of this are the favourite sculptures of Pårávanatha's temptation and the tapas or asceticism of Gautama Rishi or Gomateśvara.
1 For further details, see Car Temple PT. 195, 196.
9 The Rashtrakúta kinglom seems to have been dividel in the time of Govinda III., when his younger brother. Imma, established a separate kingdom of Gujarat, about the very end of the eighth century:
* Cure Tower, pl. lxxxvi, and. 196.

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INDRA SABHA JAINA ROCK-TEMPLE AT ELURA

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ELURA: INDRA SABHA JAIXA CAVE.
A screen wall, left in the rock, terminates the court on the south side, and is pierced by a doorway with a Dravidian roof. This court is about 56 feet inside from north to south and 48 feet across. In it stands an elephant on the right side, about 15 feet bigb, inclusive of the pedestal ; a fine monolithic column 27 feet 4 inches high, which fell over against the side rock about eight years ago; and a small mandapa analogous to the Nandi mandapas in front of Saiva temples. This is about 8 feet 5 inches square inside, raised by eight steps above the level of the court, with a door on each side, but only with ascents from the north and south sides; each door has two advanced pillars. The roof, as may be seen from the section and the plan of it (plate xl, fig. 1), is Dravidian in style. Inside this room is left a square block of rock, on each side of which is carved a figure of Mahavira, one of the Tìthankaras, with the wheel in front of the seat supported by lions.
The accompanying autotype plate vi is a view taken in 1874, before the monolithic column in the west side of the court fell over, and shows the gateway, the mandapa in the court and the pillar, with portions of the façade behind them.
Exclusive of the verandah, the lower hall must have been intended to be about 72 feet wide by 56 feet deep, beyond which are two free-standing pillars and two in antis in front of the vestibule to the shrine, 40 feet wide and 15 deep, inclusive of the pillars. The shrine alone has been completed, and is 17 feet wide by 13 feet deep, containing a Malavira seated cross-legged on a lion-throne, with the wheel or chakra in front, which is one of his emblems with the Digambara Jainas, to whom these cave temples have belonged.
The stair ascends in the verandah, and lands in the east end of the verandah of the great hall above. This upper hall, exclusive of the verandah, from which it is only separated by a low parapet wall, measures 55 feet deep by 78 feet wide. The verandah is about 54 feet long and 10 feet wide. In each end is a colossal image, the male (Cure Temples, plate xci, fig. 1) in the west, and the female in the east, usually known as Indra and Indrani, the former being seated on an elephant and the latter on a lion, with a tree bebind the lead of each, and small figures of attendants beside them. These figures are perhaps the Yaksha and Yakshiņi or Sasanadevi, the instructors of the Tirthaukara to whom the temple is dedicated. Each Jina or Tirthankara, like each Buddba, las his sacred tree; but he bas also his Sâsanadera and Devi, his principal male disciple or follower, and chief of his female followers. These are very shadowy creations, and it would be difficult to find anywhere among the numerous temples of the sect, with all their exuberance of images, representations of the forty-eight male and female Sâsanas or Yakshas that could be distinguished from one another. Neminátha, the 22d Jina in their books, has the Vetasa for his tree; but at Mount Girnår the mango (Ambi) takes its place; his instructor or Yaksha is Gomedha, and his Yakshini Ambikå ;* Parsvanátha, the 23d, has the Dhataki (Gristru tomentosa) for his tree, and Pârsvavaksha and Padmavati for his instructors; and Jahá vira, the 24th and last Jina, has the Sala (Shoreu robustu) as his consecration tree, and Matanga and Siddhayikâ as his attendant divinities. But that the figures at the enils of this verandah, and so frequent in the other caves here anl at Aukai, Patna, and elsewhere. represent a pair of these divinities is doubtful. They are always represented on the same
i For rewing, see Care Timples, pl. lxxx, fig...
. She is a form of Duryà, regarlel in Gujarat as a mother-goldess, and has a temple in the summit of Mount Girnir, which is sacred to Yeminátha.
3 This is also the Diksha tree of ljitanatha and Sumatinitha. the 21 and 5:. Tirthankaras.
IIfigures also as the Yaksha to Sufarsvanátha, theith Tirthaikara.

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IRCHEOLOGICAL SURVEY OF WESTERN INDIA.
animals, and the male is probably meant for Indra, who plays as great a rôle in the Jaina as in Bauddha mythological literature, being an interested listener to the teaching of the Jinas; and the female might be his consort, the voluptuous Sachi or Indråņi, but it is much more probably meant for Ambika, whose proper vehicle is a tiger or lion, and who is a special favourite among the Jainas.
Behind cach of these figures, but entered from the side aisles of the hall, is a small room about 9 feet by 11, by which access is obtained to the shrines ou each side of the front area. A few steps lead down from each side room into a smaller one, carved all round with Jaina figures, at the ends of the verandahs of these side shrines. On the east the verandah has two pillars in front and two behind, rising from low parapet or screen walls, with Ambika in the south end facing the entrance, at the right side of which Indra is represented with a bag in his left hand and a cocoa-nut in his right, exactly like the figures we find in the shrines of the Bauddha caves facing the principal images. The hall is about 25 feet wide by 23 feet deep, the roof supported by four square pillars with round capitals. On each side is a deep recess; in that on the right is a naked figure of Gomatêśvara, a favourite with the Digambara Jains, and of whom several gigantic figures exist in the Cavarese country. He is always represented with creeping plants twining themselves round his limbs, snakes coming out of ant-hills at his feet, his hair falling over his shoulders, and attended by worshippers. In the corresponding recess on the left is Parávanatha, also nude, and with attendant figures. In smaller recesses are figures of Maha vira seated cross-legged; on pilasters at each side the shrive door are nude Jaina dwârapâlas; the architraves are carved with numerous small figures; and on the throne inside is a cross-legged Mahavira.
Another door in the south-west corner of the great hall has a four-armed Dêvî on the right side, and below, on the left, a figure of Sarasvati, eight-armed, with a peacock. Passing tbrough a small room and down a few steps with sculptures on each side, we enter the verandah, a small ball similar to that just described. Ambika is seated at the right side of the steps, and a Dêvî opposite to her, four-armed, with two round discs or flowers in her uplifted hands, and something very like a vajra in her left upon the knee. Indra is seated in the west end of the verandah facing the entrance. A figure of Mahavira Occupies the shrine and several compartments in the walls. In deep recesses again L'arávanátha is placed on the left, and Gomateśvara on the right side of the hall, which is very similar in plan to the one on the east side, but the four central pillars are more elaborately and sharply carved after the pattern of those in the great hall. The two on the inner screen have sixteen sides, and also correspond to those on the screen in the great hall. One of these is represented on plate xxxix, fig. 3, and the carving on the members of the corresponding pilaster in fig. 4. Pairs of figures in dalliance fill the compartments of the low inner screen. On the ceiling are some fragments of painting in this room.
The faça le of this side cave is shown in the accompanying plate vii, the greater part
1 The Nutrujuya Jihatmy, for example, is a relation made to Indra, at his own urgent desire, by Mahavira.
Her name does not necur in the list of the twenty-four Sasaradêvis of the Jinas.
3 Inl. Antily., vol. ii, pp. 129, 353 ; vol. v, p. 37. An inscription on the Karkala statue, however, calls it an image of Bahubalin, who was the second son of Risliabhanátha, the first Tirtharkara. See also Arch. Sur. II. Ini Rup, vol. i, pl. xxxvii, and 1. 25.
+ See a representation of one of these figures of Parsvanatha in Cave Temples, il. lxxxvi.

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Page #73

BUS
ST.
THE
43
LEFT WING OF THE INDRA SABH«AT ELURA, ,

Page #74

ELURA: INDRA SABHA JAIXA CAVE.
of it being covered with sculpture in an exceedingly good state of preservation. The right half of the rock below is excavated in two storeys and the left in one, and between the upper of the two on the right and the one on the left is a vertical belt of carving; at the bottom of it is represented a fight, in which over three prostrate bodies other three are contending with four. Over this is a smaller panel, in which two females kneel on the left and two males on the right of a sort of stool. And over this again is a figure of Parsvanatha seated cross-legged on a simhasana or lion-throne, with the wheel in front, a small worshipper at the right corner, a chauri-bearer with high cap on each side, and the great seven-hooded snake behind him canopying his head. Above on the left is an object that may be intended to represent a structural chaitya or a dagoba.
The lowest storey on the right has lately been cleaned of earth, and has two neat pillars in front (plate xxxviii, fig. 2). On the back wall are figures of Indra and Ambika, both particularly well cut, and in good preservation when excavated. Pârsvanatha occupies the left end, and Gomateśvara the right, with deer and dogs at his feet; farther back and seated cross legged is a Tirthankara. In the shrine is Mahavira with chauri-bearers, il triple umbrella and foliage behind the head. Over this is another chapel with Parsvanatha on the left side, two small cross-legged Tirthakaras on the upper half of the right side, Indra and Ambika in recesses on each side the shrine door, and a Jina inside with chauribearers seated cross-legged on a simhasana with the wheel in front. In this chapel Gómateśvara is carved at the front between it and the facade of the principal cave.
To the left (west) of these two, and nearly as high as both together, is a hall about 30 feet wide by 25 deep, having a screen wall in front, over which rises a pillar on each side the entrance. The upper part of this screen, which, as in temples of the tenth to twelfth centuries, forms the back of a seat inside, is carved with water-vases in small panels, each separated by two colonnettes, and the lower portion, like that of the upper storey, is carved with elephants' heads separated by slender pilasters, and each playing with or feeding on flowers: it differs only in height from the one above and iu no sirdulus being represented. Inside are four pillars with high square bases and cushion capitals, the front ones only having much carving. In the central compartment on the west wall is Parsvanatha,' with female chhatri-bearer, the snake behind him overshadowing his head with its hoods, and at his feet two Naganis and two richly dressed worshippers, while round him are numerous demons trying to disturb his meditations, as the emissaries of Mara attacked Buddha. In the next compartment is a repetition of the same on a smaller scale, with a cross-legged Jina above.
On the east wall Gomateśvara is represented in the central compartment with deer and perhaps a dog at his feet, and female attendants (plate sli, fig. 3). Above him are Gandharvas, one with a large drum just over the umbrella, and others with cymbals and garlands. In the compartment to the right of this is a smaller Parsvanatha, and in that to the left a standing figure half split off, with figures of deer, makara, elephant, ram, &c., by the sides. Above it is a small cross-legged Jina, and on the back wall were Indra and Ambika, now much defaced, with an ascetic bearing a chhatri and holding up one hand to her left. Two stiff Jaina dwârapâlas guard the shrine door, inside which is a Jina on a suihúsuna with the wheel in front. He has two attendants and triple umbrella, with Gandharvas making music to him and bearing garlands.
1 Care Temples, pl. lxxxvi.
Cave Temples, Pp. 328, 345, and l. li.

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ARCHEOLOGICAL SURVEY OF WESTERN INDIA.
The facade over these rooms, forming a parapet in front of the hall above, has a compartment in the centre carved with a male and female, attended by two smaller females, each holding the stalk of a tower; at the sides are pilasters bearing makaras holding a turonu (plate vii). On each side the wall is divided by small pilasters into panels, contaiving alternarely an elephant's bead playing with, or feeding on, flowers, and a rampant surdula trampling on a small elephant. Above this is a frieze of water-jars. Above the hall a drip projects covered with florid carving, Aying figures in twos and threes, and curious little dwarfs hanging over with garlands. The next moulding is carved with numerous animals, but somewhat weatherworn; and over it is a broad frieze, broken vertically by pilasters into representations of little shrines, each containing a figure; Indra in the centre on the left and Ambikå on the right, with Gômateśvara, l'arývanátha, and other Jinas in the remaining panels. The middle portion, representing the side of a building with an arched roof upheld by four kneeling figures, has a Jina seated cross-legged on the side, and another in a chaitya-window shaped recess just abore him. Over this again the rock projects a little, and has served to preserve the sharpness of this sculpture.
Returning to the great ball, the section on plate xxxvii shows to some extent the variety in the patterns of the pillars supporting its roof, and of the arrangement of the sculptures on the walls. The pillars in the central hall are of five different patterns: two in the front and two in the back row are illustrated on plate xxxviii, fig. 3; the two middle columns on each side in fig. 1, with which is also shown the bracket above and the architrave; and the corner pillars are of the style represented in fig. 4. The four columns separating the verandah from the area of the hall are shown on plate xxxix, fig. 1, and those in the front of the verandah in fiy. 2.
In the centre of each side wall, occupying a large compartment, is a Jina seated crosslegged on a throne, with the wheel, elephants' heads, and lions carved in front of it, and with two elephants below; like Buddba, he is attended by two chauri-bearers and a pair of Vidyadharas above, with aureole, triple umbrella, and sacred tree. On each of the other areas, between pilasters, are two smaller figures of Jinas on simhasanas, and usually with small figures blowing conch-shells, between their trees. On the front of each pillar before the shrine, and also on the corresponding pilasters on each side, are tall nude male figures, some of them much injured. The ceiling has a large lotus in the centre, and still retains a good deal of painting, though somewhat smoked.' The door of the sbrine is represented on plate lxxxis of The Care Temples.
THE JAGANNATH SABHA. The second large Jaina care in this group is known as the Jagannath Sabha," and is so close to the Indra Sabha that the wall of the west wing of the upper floor of the latter has been broken through into a cell on the east side of the upper floor of the Jagannath Sabha. The court of this cave, however, is much smaller than that of the last, hardly 38 feet square, and has contained some structural erections now entirely destroyed. The plan of the ground floor with the small cave to the west of it is given on plate xc, fig. 1, of the Cave Temples, and that of the upper floor, together with the west shrine of the ludra Sablâ, on fig. 2; and on plate scii, fig. 3, is given a drawing of one of the pillars in the lower ball, while fig. 1 represents the style of those in the upper hall.
1 For further details see Care Temples, pp. 196-500. • Cave Temples, pp. 500, 501, and plates xc and xcii, figs. 1 and 3.

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ELURA: JAIXA CAVES.
The approach to the upper floor has been very clumsily planned-probably it was quite forgotten at first, and afterwards inserted-at the right corner of the court, where a rude stair leads up to the right corner of the great hall, which is 57 feet wide by 11 feet deep, and varying in height from 13 feet 4 inches in the front aisle to 14 feet in parts of the central area. Twelve massive pillars arranged round an oblong central area support the roof, and two in front with a low counecting parapet wall and corresponding pilasters, form three openings in 38 feet to light the interior. This arrangement, which is followed with slight modifications in all the Elurâ caves, renders them much lighter than the plan adopted in the Ajanta, Nasik, Kuda, and other Bauddha caves. Outside, the parapet is sculptured with a large elephant head at each end.and in front of each pillar, with smaller figures of human beings in the central division, and of animals in the two side divisions; and over them is a rail of small colonnettes and flower-jars, the body of each of the latter being carved with human and other figures. The front of the drip above has been carved with forty little gana, and other sculptures above them, now much weatherworn. Over this, but removed back a few feet, are the decayed remains of a frieze richly sculptured with elephants, makaras, human figures, &c.
The lower floor of this is on the model of that of the Indra Sabha, but is much smaller. and has been finished, whereas in the latter case the pillars are little more than blocked out and the side aisles hardly commenced. This hall is only about 24 feet square and 13 feet high, with four pillars in the floor, and having in front a narrow verandala with two square pillars on the screen wall. This parapet has been finished only on the left of the entrauce, with elephant heads below and water-jars above, while the carving on the portion to the right of the entrance has only been begun along the upper portion.
One of the front pillars to the left of the entrance, with a portion of the screen wall, is represented on plate xxxviii, fig. 3.
Two more pillars on a low partition separate the verandah from the hall, which has two recesses--oue on the left side containing the usual standing figure of Parsvanatha with the snake-hoods over him and attendant figures, and another on the right side containing the corresponding figure of Gòmatèśvara and attendants, all remarkably sharply cut. Figures of Jinas seated cross-legged fill the other six wall areas between the pilasters. In the verandah Indra occupies the left or west end, and Ambibà the right or east end. The shrine is entered through a small antechamber with a fine torant arch over the entrance; it is about 9 feet by 7, and 10 feet 8 inches high, with a cross-legged figure of Mahavira on the throne. The drip over the entrance has not been carred, and large pieces have fallen out of it.
The hall on the left side of the court is about 27 feet square and 12 feet high, with a sbrine 9. feet by 8, and 9 feet 1} inches high, and on each side of it is a cell, the left ove breaking into the next cave. This and the breaking into the cell at the left end of the upper storey of the recess on the right of this hall may perhaps indicate that it was forced in bere after the others were completed.
On the other side of the court are two other small chapels, the walls of which are covered with Jaina sculpture.
CAVE XXXIV., The last of the series of caves, joins close on to the Jagannath Sabha, and has been broken into by the hall on the west side of the court of the latter. The verandah in front

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ARCILEOLOGICAL SURVEY OF WESTERN INDIA.
has been quite destroved, except a small fragment of the left end. The back wall of it bas two pilasters, and is pierced by a door and two windows. The hall is 20 feet wide by about 20 feet deep, and is 9 feet 8 inches high, with four pillars in it, and corresponding pilasters on the wall. One of the pillars is given in plate xl, fig. 4. All the spaces between the pilasters on the walls are covered with rich sculpture.
The colossal figure of Parsvavatha ou the other side of the ridge is described in The Cure Temples (p. 502), where a translation of the inscription upon it, dated 3rd Phâlguna sudi S. 1156, corresponding to Wednesday, Feb. 21, A.D. 1235, will also be found. It records the dedication of this image by one Chakreśwara of (Varddhana pura.
CHAPTER VII.
THE CAVES AT BADAMI AND AIHOLE. Is The Cave Temples (pp. 101-416) and in the first volume of these Reports the Brahmanical and Jaina caves at Badami and Aihoļe, in the Kalâdgi district, were illustrated in considerable detail. The discovery of the date of the finest of them also supplied an important datum for the settlement of the chronology of these works. Little need here be added to the details there given, but, extensive as is the illustration in the first Report, it falls far short of representing the full sculptured wealth of these caves, and I now add a ground-plan showing the whole group of caves at Bâdâmi (plate xli, fig. 2). The ascent is from the Saiva Cave No. I., at the west corner of the scarp, to Caves II. and III., which are Vaishnava. Beyond them, and accessible from below, is the Jaina Cave No. 11.
Round the upper part of the walls, over the pillars in front and back of the verandah in Cave II., is a frieze containing a belt of sculpture only 10 inches broad, in which the figures are crowded together so as to represent a considerable chapter of mythology. This is given on plate viii, where figs. 1-3 represent the portion on the inside of the front wall, and figs. 4-8 that on the back. It would be needless describing these scenes in detail; those acquainted with Hindu mythology will make them out. They begin with Vishnu sleeping on Śêsha, with the lotus springing from his navel bearing a very small Brahma; in the first half of fig. 2 is Sri, his consort, bathed by elephants, &c., with Vishnu mounted on Garuda, Indra on the elephant Airâvati, and other gods to the left; and well to the right Chandi destroying Mabishasura. The next compartment is the churning of the ocean by the gods and Asuras, and the horse Uchchaihsravas, one of the products of the operation. The end section (fig. 3) represents a battle. Fig. 5, on the left end of the back wall, hardly seems counected with the others ; * figs. 5, 6, 7 apparently relate to the history of Krishņa."
On the rock outside Cave I., the Saiva Cave, is sculptured a figure of Siva performing
I See Cave Temples, pl. xci, fig. 2, for a drawing of one compartment.
R ot on the Belgaum an Kaludyi Districts (1874), Pr. 15-28, 37-40, and plates xvii to xxxvii anil xlviii to l. In the Iml. Ant., vol. vi, PP. 351-366, will also be found an account of the sculptures, illustrated by seven plates.
S See Reports, vol. iii, On Bcular and Aurangabad, P. 17.
4 Purtions of these sculptures are very similar to some of those on the pillars of the temple of Virupaksha at Pattadakal. Unfortunately, they are not labelled with the names of the actors, as is the case on one pillar there, where the war of Râma with the Rakshasas is represented. --See Reports, vol. I, p. 32.
The principal sculptures, which are Vaishnava, have been described in vol. i, ut sup.

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PLATE VIIT.
BADAMI.-FRIEZE IN THE VERANDAH OF CAVE IL
*
ri
A
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-
WHAT ITUTE
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om
R
?
+
.
J
.
RE
AN
SVAR
WA
7. Bare
1. G
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-th.

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Page #80

Scale of 1
J. Burgess,
CHEE
AIHOLE:-CEILING OF THE BRAHMANICAL CAVE.
3
6
7
8
9
PLATE IX.
10 feet.
H. Cousens, del.

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Page #82

BADAMI AND AIHOLE CAVE TEMPLES.
51
the Tandava dance on a lotus, figured with the very unusual number of eighteen arms (plate xli, fig. 3), and attended by Nandi, Ganêśa, and Nârada.'
In the great Cave No. III. is a frieze very similar in subject to that in Cave II., only the band is 14 inches high, and being of much greater length, the twenty compartments of varying lengths, extending to over 120 feet in all. Of this, about half is represented on plate xlii. In the central portion of fig. 1 is Śri bathed by the heavenly elephants; to the right is Narasimha, the lion avatára, tearing up Hiranyakasipu, and on the left Vishnu on Garuda, engaged in combat with a déra in a chariot. In No. 2 Vishnu again appears in the centre on Garuda, and to the right again contending with Indra in fight. A battlescene occupies No. 3. In No. 4 Garuda appears carrying off the jar of Amrita, the water of life, from the Asuras, and to the left protecting it. In No. 5 it is perhaps Rahu who appears to the right of the jar; Śiva leans on Nandi, and Garuda is flying from the left. No. 6 represents the churning of the ocean, and Nos. 7 and 8 seem to be the scenes preparatory to that undertaking, the gods, mostly four-armed, figuring prominently as if in consultation. The other scenes closely resemble those in Cave II. In one of them is Krishna upholding the mountain Govardhana over the flocks of Vraj, a scene also represented in the Kailasa temple at Elurà and at Mahavallipuram.
The AIHOLE caves are only two-one Brahmanical and one Jaina, and have been described in the first of these Reports and in The Cave Temples. The Brahmanical shrine, though very small and much injured by Jogis living in it, is so rich in sculpture that a few specimens may be here added. Plate ix represents the roof of the small hall, and with the other examples from the neighbouring Jaina cave, figured on plate xlix of the Report on the Belgaum and Kalâdgi districts, and that of the Jaina cave at Ankai given in this volume (plate 1, fig. 1) are almost the only examples yet found of an attempt to reproduce by carving in relief the forms we have become so familiar with in painting at Ajanta and elsewhere. These too may have been originally enriched by the addition of colour, though it was hardly required-the relief of the carving being quite sufficient for ornamental effect, and its greater permanency had much to recommend it. Barring a curious irregularity in the setting out, and which is owing to the shape of the room, the selection of the ornaments in this ceiling is judicious and elegant, and their arrangement is sufficiently varied, without confusion, to render it one of the most pleasing specimens of a Hindu ceiling we are acquainted with. It is so at least till we come to the elaborately constructed coffers of the temples at Baroli and Mount Abu, which belong to a later age and different style of architecture. This ceiling, however, is interesting as a first attempt at a style. of decoration that afterwards gave rise to some of the most beautiful forms of Hindu architecture.
Plate xliii, fig. 2, represents Hara or Siva with only two arms, the parasu, marhu, or battle-axe by his left side, and the trisala at his right, holding a snake in his hand, while another twines round the parasu, and wearing the crescent moon on his mukuța.
1 For a sketch of the sculpture of Ardhanûrêsvara in this cave, see Ind. Ant., vol. vi, p. 359, and plate. See Iul. Ant., vol. vi, p. 365, and plates, where the figures should be arranged as follows: 2d plate, 4th. 5th, and 2d lines; 1st plate, 8th, 6th, 4th, and 2d lines.
3 Care Temples, pp. 149, 460.
4 Vol. 1, pp. 37-39, and plates xlviii to 1.
5 Pp. 404, and 491, 192.
Tod's Annals of Rajasthan, vol. ii, pp. 708, 733, &c.

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52
ARCILEOLOGICAL SURVEY OF WESTERN INDIA.
This is in the north or left corner at the back of the hall. In the right-hand corner is the group represented in fig. 1, of Siva, four-armed, without symbols, but holding a triple lock of his hair on each side, with Pârvati at his left hand and Bhringi, his Sannyasî attendant, at his right. Below are four gana. But the peculiarity of this group is in the three goddesses that rise from a cloud in the shape of a large shell on the mukuta. The Gangâ river is fabled to flow from Śiva's hair, and the three heads perhaps represent the river goddesses of the three principal streams, which the Hindûs regard as forming their sacred river, viz., the Gañgà, the Yamuna, and the Sarasvati,' the junction at Allahabad being called Trivent triple braid." This triad of river goddesses was doubtless once paintedGang, the daughter of Himalaya, would be white; Yamuna, the daughter of Súrya, on her left, blue; and Sarasvati, on Ganga's right, would be red.
In the ends of the antechamber leading into the shrine are two sculptures, one (fig. 3) of Varaha, the boar form of Vishnu bearing Prithivi or Bhumidevi, the earth, on his left hands, holding the chakra or discus in one of the right hands, and with the sankh figured in the upper right corner, while a Naga and Nagini are shown below, perhaps representing Hiranyaksha, who had dragged off the earth, and his consort. On the opposite side is u pretty entire figure of Durga as Mahishamardiniî (fig. 4), which may be compared with other figures of the same goddess elsewhere. In the left chapel, off the hall, is the Tândava dance represented in fig. 5, where Śiva has ten arms.
CHAPTER VIII.
JOGESVARI OR AMBOLI AND LONAD.
THE large cave known as Jôgêśvari, near Amboli, in Salsette, was described in the Cave Temples (pp. 475-477), but without any illustration. The ground-plan is now given on plate. xliv, showing its general resemblance to the Dumar Lena at Elurà and the great Elephanta cave, while there are also marked differences perhaps indicative of the later date of this example. The great hall, which is about 94 feet each way, has twenty columns arranged in a square as in the Buddhist vihâras, and in the centre of this stands the shrine, scarcely 17 feet square inside. Being constructed under a low rocky knoll, and lighted only by what comes in through three doors and two windows in the back wall of the front verandah, with some slight addition from the side doors, it is much darker inside than any of the Elurâ caves, and the drainage running into it from the sides, it must always have been a very damp temple during the rains. Now it stands deep in water for months after they cease.
There is no sculpture on the inner walls, as at Elephants and the Dumar Lena, though the pillars are of the Elephanta type. The doors and windows in the verandah have mouldings. round them, and panels above filled with small groups. The verandah in front is 117 feet long by 15 wide, and an irregular open court has been excavated before it, with two water cisterns, on the plan of the neighbouring caves at Kanheri, and also a small shrine and another room. Two narrow passages have also been cut through the rock into the east end
§ 44.
1 Ante, p. 34. A similar way of representing this triad is to be found at Elephanta. See my Elephanta, 3 Care Temples, plates lxxix and Ixxxv.
2 See Hariramsa, cexxiv.

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Page #85

LAILA
JOGEŚVARI. SHRINE DOOR.
.
RAMSTERI
Bill
32
2.1
33
13
14 Feet
Scale of 126
BSTET
J. Burgess.
H. Cousens, lel.

Page #86

LOXAD CAVE TEMPLE.
of this court, by the side of one of which is another small shrine. The left or west side of the hall is entered by a sloping passage, with a cistern by the side of it, which enters first into a sort of guard-room with unfinished rooms on each side, on the plan of the gateway at Elurâ, and with decayed remains of sculpture round the door. From the opposite or east side a more elaborate entrance is formed. First a stair descends or slopes down to a wide door that gives entrance to a large room over 30 feet deep, with a wide passage through it, separated from the side areas by a screen of four pillars on each side. This leads into an open! court nearly 60 feet wide by 40 deep, with two irregular upright blocks of rock, apparently intended to be hewn into dhvaja-stambhas or ensign pillars, similar to those on each side of the court of the Kailasa temple at Elura.
This court has three doors into another hall 59 feet wide by about 31 deep and 163 feet high, and which is divided into three areas by two rows of four pillars each-each division having its own entrance into the great hall of the cave. The central door has been carefully sculptured, and though now somewhat decayed, it is the best preserved piece of sculpture here, and is represented on plate xliv, fig. 2. Over the door, under a torana, Siva is seated-apparently receiving worship. Above the makaras on either side are female figures and cherubs. To the left is the marriage scene so often represented. On the right are Siva, Nandi, and Parvati, and attendants; and the tall dwärapålas and attendant dwarfs by the jambs are in keeping with those found in other Saiva caves. Over the outer door of the first hall on this side is also left a portion of the sculpture representing Rârana in the well-known scene under Kailasa. Ganeša figures to the left of Siva, and among the ganas below expressing their scorn of Råvana are some with animal heads. Over the makaras at the sides are figures on clouds, and above them again are clouds.
The shrine doors are also moulded, and the principal one, represented on the accompanying plate x, will fully illustrate their style, and presents a close analogy to those in the cave on the eastern hill of Elephanta called Sita's dévala, and which is apparently more modern than the great care there. The whole style is indicative of a later date for this hall than either the Elephanta one or the Dumar Lena; in fact, as stated in The Cave Temples, it may be regarded as one of the very latest of the larger cave temples iu ludia, and may be ascribed to the end of the eighth century A.D.
LoXÂD.
Lonâd is a small village about 3} miles N.N.E. from Kalyan, and about 30 miles from Bombay. In a hill which forms one side of a glen above this village Mr. W. F. Sinclair, of the Bombay Civil Service, discovered a rock temple in January 1875. It faces S. by W., and consists of a verandah 48 feet long by 10 feet wide, of a hall 15 feet long by 19 deep, entered by three doors, and of an unfinished shrine at the back (see plan on pl. xlvi, fig. 3). The verandah has four square pillars in front, with a carved frieze above about a foot deep; the left-end portion, or fully one-third of it, is represented on pl. xlv, fig. 1. It will be observed that there is nothing specially distinctive of any religious sect in these groups, but when compared with those in the Badâmi caves (plates viii aud xlii), they appear to belong to the same general class. In a recess at the left end of the front of the verandah is a larger group, represented in fig. 3. It is a good deal destroyed on the right or outer
1 See my Elephantu, 103, 104, and drawings x and xi. . See Indl. Ant., vol. iv, pp. 68, 165.

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34
ARCHEOLOGICAL SURVEY OF WESTERN INDIA.
side, but measures about 8 feet by 6 feet. A pilaster on the left side of the sculpture supports a makara from whose mouth a torana issues, and it is probable the other side was similar. In the centre sits a male figure, as in the fourth compartment of the frieze; a small female chafes his left foot, and a taller one by his side holds up a sword, as in many of the Ajanta wall paintings. On his right are three females, one with a chauri, and another with a dish or other round object. Two males with curled hair sit on his right, and other two on his left, each pair being engaged in conversation, while numerous other figures fill up the background. The scanty clothing of all the figures reminds one of the Amaravati sculptures; but there is nothing distinctively sectarian in this sculpture any more than in those of the frieze.
The side doors are surrounded by plain facias, and have small standing figures at each side, and the central one has slender pilasters and a leaf moulding outside with chaitya arches on the lintel. At each side is a sort of horizontal disc, borne by a small curly-headed dwarf, both much injured (see fig. 2). Besides the unfinished shrine, there are incisions made in the back wall of the hall, as if for the beginning of two cells. There can be no doubt that this was intended as a Brahmanical shrine, but whether Śaiva or Vaishnava, it would be difficult to decide. The cave is now dedicated to a Grâmadêvî or village goddess, known as Khandéévari, or the goddess with the sword (khayda)-possibly from the figure in the sculpture described above. In the left end of the front, opposite the sculpture, is a rough square isolated block of stone left in a recess.
The style of the sculpture and of the mouldings on the pilaster, pillars, and door, indicate a much later date for this cave than for even the last described. A little to the left of this and higher up are two or three unfinished cells.
1 e.g. in Care Temples, pl. xliii, where two may be seen.

Page #88

ELEPHANTA CAVES.
CHAPTER IX.
55
ELEPHANTA CAVES.
THE great cave at Elephants, in the Bombay harbour, has been so long known to Europeans, and has been consequently so often described and so fully illustrated by Daniell and others,' that it is hardly necessary to say anything about it in the present work.
The cushion-shaped capitals which crown all its pillars, as represented in the accompanying woodent (No. 18), seems to have reached its greatest development and beauty of form in this cave, but is found in greater or less perfection in so many caves dating from before and after this one, that it has come to be considered the typical capital of Indian architecture. It may be compared with the Doric style of classical art in the same manuer as the vase with the leaf falling over it, as exemplified in the Râmêsvara and elsewhere, may be considered as a richer Ionic order. The two are the principal forms or "orders" of Indian art, and though they may be compared with the classic orders, they are thoroughly original in their form and indigenous in their inception.
The Elephanta cushion capital is also of interest, as being the same form that constitutes the amalá sila or amalaka crown to Hindu temples of the same age; and though we are still unable to guess from what it may have been derived, we can hardly escape the conviction that their origin was the same.
In some respects the Dumar Lena at Elura may be said to be a finer cave than this, as it is a larger one, but it wants that perfection of finish both in architectural and sculptural details which make this temple so remarkable and so justly admired. The third of the group-the Jõgevari one-both as regards its architecture and sculpture, is greatly inferior, and probably may be considered as the last of the class.
No. 18.-Pillars and Corner of the Shrine in Elephanta. From a photograph.
This cave may belong to the middle of the eighth century, and is the most complete of its class, which consists of the three great halls of Dumar Lena, Jogêśvari, and Elephanta.
1 See Cave Temples, pp. 465-475, and plate lxxxv for the ground plan For some of these accounts, ser Niebuhr's Voyage en Arabie, &c., tome ii, p. 25-33; Dr. W. Hunter in Archæologia, vol. vii, pp. 286-295; H. Macneil in ibid. vol. viii. pp. 270-277; Asiat. Res., vol. iv, pp. 409-417; Forbes, Oriental Memoirs, vol. i, pp. 423, 432, 435, 441-448; W. Erskine, Trans. Bomb. Lit. Sor., vol. i. pp. 198-250; Fergusson, Rock-Cut Templer, P 54, 55; Dr. J. Wilson. Culcutta Review, vol. xlii (1866), pp. 1-25; and my Rock Temples of Elephantu or Gharapuri (Bombay, 1871).
Compare also the capital from cave XXIV at Ajantâ figured in Report, vol. iv, p. 57, woodcut No. 17; Care Temples, pl. xlix, fig. 1; in the Tin Thâl, i. pl. lviii, fig. 2; in the Visvakarma, pl. lxiii, fig. 2; in Ravana ka Khai. pl. lxxi, fig. 2; in Kailasa, pl. lxxxiv, figs. 1, 2, 3 and at Aurangabad. pl. Ixvi, fig. 2.
We might similarly compare the pillars in the Karle Chaitya, and in several of the Nasik Caves, with the Tuscan order.

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ARCILEOLOGICAL SURVEY OF WESTERN INDIA.
The accompanying autotype plate xi presents two of the compartments on the back wall of this cave; that to the left being the Trimurti or large three-headed bust of Śiva, representing him in the three characters of Rudra, Brahma, and Vishnu. The central face is that of Brahmâ, or Śiva as the Creator, that to the spectator's right is the same god as the preserver or Vishnu, and that to the left holding the snake in his hand and with the tusks is Rudra, the destructive form of Śiva. The other compartment to the left represents Siva in the androgynous form of Ardhanari, the right side being male, and leaning on Nandi, the favourite vehicle of Siva, and the left female representative of Pârvati. The gods are represented on the clouds on either side of this group doing them reverence.
But, besides the great cave, there are several others on the island, which seems to have been a very early sacred place; for, on the north-east of it, on its highest point, is a large ruined brick Bauddha stúpa, which I had opened in May 1882, but found no relic chamber in it.
56
Not far from this, in a south-westerly direction, and north-east from the great cave, is a neat cave (plate xlvi, fig. 2) with a large court in front, and having a hall or portico 73 feet long by 26 feet deep and 11 feet high, with four pillars in front and two pilasters. Each pillar is 3 feet square to a height of 4 feet from the plinth on which it stands, and the neck and compressed-cushion capital, 3 feet 9 inches high, is sixteen-sided. In the back of the hall are three shrines, the side ones empty, and the central one, 15 feet 7 inches square, contains only a moulded altar.
This cave appears to be the one mentioned by De Couto (1603), who says that "in the other hill of this small island, to the east and nearly in the centre, beyond the great temple, is another temple, to which the entrance was formerly by a beautiful gate which had a porch of marble most exquisitely wrought. This temple has a large hall and three chambers; in the first, to the right hand, there is nothing left now; the second has two idols seated on a large square seat. One of these idols was called Vithalâ Chendai, had six arms and only one head, and was supported by two small idols that were on each side of it." This probably referred to Vitthala and Chandi, or possibly only to Chandi or Durga in one of her terrific forms the Mahishêśvari with the Asura and her attendants. The cave is now known as Sitâbâï's Dêvala.
Quite near to the great cave, a little to the south-east of it, are two others, much ruined in front, but otherwise not without interest, and probably older than the large one. The fronts of both have entirely fallen, but they have been on the general plan of the last described, a long hall or deep verandah, with three cells at the back, and other apartments in the ends. The portico of the first (Cave II. on plate xlvi, fig. 1) is 85 feet long by about 35 feet deep, with a shrine and two cells behind, and a large room in the left end, about 39 feet by 20 feet, screened off by four octagonal pillars. The shrine door is moulded, and has dwarapalus by the jambs. In the other (Cave III.) the portico has been 49 feet long, with a linga shrine and two cells at the back, and a room at the left end about 21 feet by 16 feet, with slender square pillars in front and a cell at the back, and at the right end is another small room leading into two more cells.
Du Asia, dec. vii, liv. iii, cap. 11; see also Niebuhr, Voyage, tome ii. p. 33.

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('EXUE)
Late M
TRIMURTI AND ARDDHANARI SCULPTURES IN ELEPHANTA CAVE TEMPLE.

Page #91


Page #92

HARISCHANDRAGAD DRAIDMAXICAL CAVES.
CHAPTER X.
HARIŚCHANDRAGAD AND PATNA CAVES.
The Harischandragad Caves admit of but little illustration, as they are exceedingly plain, and what sculpture there is has been repeated elsewhere, and they have been fully described already.' The plans (plate xlvii) may help, however, to make the description more intelligible. Fig. 1 is the ground plan of Cave II., the most complete of the group, and whilst there is a figure of Gaņeśa on the lintel of the central door, it will be seen from the arrangements that there is no shrine or place for worship; the plan is that of a dwellinghouse, not of a shrine. There seems no reason to suppose that it was ever meant for ought else, and was probably the dwelling of the priest in charge of the neighbouring temple.
Cave I. also (see plan, fig. 2) is only a smaller place of the same sort, with a well in frout. In a small room on the right side of the court of Cave III. is an altar, and inside the cave is a large figure of a nude Gaņēša in a panel about 6 feet square. Cave IV. consists of an outer oblong cell with an inner one rough and unfinished. Cave V. is lower, and in a watercourse; the front has fallen away and a structural one is substituted. The plan is irregular and unfinished, with broad high benches along the three inuer sides, and a cell on the right. Close to it is a water-cistern. Cave VI. is at a slightly higher level, and is similar to No. IV., the front room being 16 feet by 8! feet, but a bed of muram or soft clay has destroyed the walls. In Cave VII. the outer room is deeper, with an open front, and in the imper one is a long védi or altar, as if for three images, and with some small figures and lozengeshaped ornaments carved on the front of it. At the right end is a basin to receive the water, &c., from the images. The muram bed has also damaged its left and back walls of this cave. Cave VIII. is similar to No. IV., with a larger cell.
To the N.N.W. of these small caves and at a lower level stands an old temple of perhaps the tenth century, consisting only of a neat Vimâna, with four small porches on the sides, standing in the middle of a court, the west side of which consists of a rocky face, in which are excavated three caves (see plan, fig 3), one of them with a cell in the corner of it. In the south side is a shrine and two cells, and on the right is a wall with a small shrine near the entrance; the wall that once bounded the north side has fallen. This temple spire is much like that of the temple of Papanatha at Pattadakal, and is probably as old as the rock excavations, which seem to have been meant for the accommodation of the attendants. The pillars and roofs of the small porches are elegantly carved.
Farther down the stream a little is a rock-cut hall about 55 feet square, with a large linga altar in the middle of it.
PATNA CAVES. The caves of Patna or Kanhar, on the south border of Khandesh, near to the Pitalkhora Bauddha cave, consist of three excavations, one Brahmanical and two Jaina."
1 Cave Templos, pp. 477-179; Ind. Ant., vol. v, pp. 10, 11.
The structural parts are indicated on the plan by the hatched linea leino vertical 3 Cure Temples, pp. 128 and 192.

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55
ARCHEOLOGICAL SURVEY OF WESTERN INDIA.
The Brahmanical cave is locally known as Sringar Chåvadi, of which the groundplan is given plate xlviii, fig. 2, and a section to double the scale (fig. 1), showing the
return of the façade along the side of the court, and the carving on the screen wall and s pillars, the style of which indicates a comparatively late date, as does also that of the
entrance door, shown in plate xlvii, fig. 5, with its very high step and mediaeval style of ornamentation.
The Jaina caves are known as Nagarjuna's Kotri and Sîta's Nahni, the latter a very irregular unfinished cave, and the other, strangely enough, bearing the name of one of the greatest Bauddha teachers, if not the founder of the Mahâyána schools. The plan of the first is given plate xlviii, fig. 4. the longitudinal section in fig. 3, and a transverse section in plate xlvii, fig. 4, which shows Indra and Ambikâ seated in front of the two very rude pillars, and the Jina ou a low throne against the back wall. These, with the details given in the Cure Temples, are sufficient to give a correct idea of this very late Digambara Jaina excavation.
CHAPTER XI.
ANKAI CAVES
Little need be added to the account of the Brahmanical Caves at Ankâi-Taukas given in The Cheve Temples, p. 480. The sketch plate I, fig. 3 represents the sculpture at the right side of the entrance to the first cave, and fig. ? is a drawing of the door of the shrine to the scale of 1 inch to 3 feet. The sculptures represented in these drawings indicate pretty clearly that these caves belong to about the same date as the latest Elurâ Brahmanical caves, about the tenth century. There are no sculptures whatever in the other three Excavations. On plate xlix, fig. 6, is a plan of the very irregular Cave No. II.
The Jaina Caves on the ascent to the hill fort are a much more interesting series, and have been claborately carved. The accompanying autotype plate xii presents the appearance of the first two caves, which are two-storeyel, and on plate xlix, figs 1-3, are the section and plans of both floors of No. II. On the outside wall at each end of the façade are lions in full relief, and the front wall is perforated in small square holes to admit light. In the lower storey the front axartment, about 26 feet wide by 12 deep and 9. feet high, has the usual Jaina figures of Indra and Ambiki in the ends, and an elaborately carved door (pl. xlvii, fig. 6) from it into the ball, which is about 25 feet square. A small lobby leads into the shrine byloor also carefully sculptured. In the shrine is a throne with an arched back and a high step to it, but no image.
The plans of Caves III and IV. are given in figs. 5 and 6 of plate xlix, and will render the account in The Cave Temples more intelligible. The roof of the central area of Cave III., Tietween the four pillars, as there mentioned, is carved with a large lotus, having four concentric
Nazirjuna ia sail to have lived as a hermit in Western India, but was converted to Buddhism by Kapimala f Patna, the 13th latriarch. Can this story have anything to do with this locality? The cave, however, is of much later date than the time of the 11th Dulila Patriarch, who must be placol before the Christian era.
! See Cure Timples, pp. 503-503, and plates sciv and scv for plans and section of Cave No I., also the duer and image of the Jin..

Page #94

f
90
TA
La
XS
CO
AL
*42
RA
LIS
.
AYA
20
3
*
.
-
2
..:
.
.
VE
Unte
TWO JAINA CA E-TEMPLES AT ANKAI

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Page #96

NANAGHIAT INSCRIPTIONS.
59
rows of petals, two of which are sculptured with figures: the inner with sixteen single figures dancing or playing on musical instruments, and the outer with twenty-four, mostly mounted on different animals, and perhaps representing the gods of the Hindu Pantheon. This ceiling is represented on fig. 1, plate 1, and may be compared with the examples at Aihole already noticed (pl. ix), but to which it is much inferior.
CHAPTER XII.
INSCRIPTIONS.
1x Professor G. BÜHLER, C.I.E., VIENNA.
I. THE NÂNÂGHẤT INSCRIPTIONS.
The Nânâghât inscriptions, which belong to the oldest historical documents of Western India, and in some respects are more interesting and important than all the other cave inscriptions taken together, have not received hitherto much attention from Orientalists, though Colonel Sykes' imperfect copies have been available for many years, and excellent photolithographs were printed by Dr. Burgess some time ago. Probably the fragmentary preservation of the large inscription has deterred epigraphists from undertaking its explanation. Pandit Bhagvânlål in his article on the coins of the Andhrabhrityas' discusses, however, the general sense and bearing of Nos. I. and II., and gives particularly valuable hints regarding their connection with the six smaller coeval inscriptions. He has also given a list of the numeral signs which occur in I. and II., ibidem vol. xii, pp. 404-6. His readings, however, do not always agree with the photolithographs. Before him Dr. Stevenson made some remarks on these documents, which, as usual, speak more for his courage as a scientific pioneer than for his knowledge of the subject.
For the attempt at a translation and explanation of the Nânâghât inscriptions, which I now offer, I have used, besides the photolithographs taken for Dr. Burgess by Pandit Bhagvânlal, a photograph of the first half of the large inscription, also furnished to me by Dr. Burgess. As will appear in the sequel, this additional aid has proved to be very important for the beginning of line 3, and has enabled me to find what I think will be admitted to be the real connection of that fragment with those preserved in the following lines.
These inscriptions are found in a large cave at the top of the Nânåghat, a pass which leads from the Konkan to the ancient town of Junnar. Nos. I. and II. occupy the left and right side walls, while Nos. III.-VIII. are incised, as labels, above the heads of what have once been a number of portrait figures carved on the back wall.
1 Jour. Bo. B. R. As. Soc., vol. xiii, pp. 303-316. Pandit Bhagvânlal had engaged to supply translations of this and indeed of all the Cave Inscriptions, which were to have been ready nearly two years ago, but has faileil to supply them in time even for this volume.-J. B.
? Also in Inl. Ant., vol. vi, pp. 14, 15. 3 Jour. Bo. B. R. As. Soc., vol. v, p. 174.

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ARCILEOLOGICAL SURVEY OF WESTERN INDIA.
Transcripts.
Yo.I.-A. Lupt all. (1.) Oni namo prajapati]no Dhammasa namo i dasa namo Sarkansana-Vasudevanam Charida-sútânam
mahima vjatânati chaturinari chanh lokapálánam Yama-Varuna-Kubera. Vasara nam namo kumara
vansa Vedisirisa ra[u]o1 (2)... ... ... [v]irasa sûrasa apiratihatachakasa Dakhi[nära]th[patino] ...................
(3.) ma ........ [ba]lâya mahárathino Angiya-kulavadhanasa sagaragirivaravalasya]ya pathaviya patha
mavirasa vasa . . va va alaha () ........... salasu . ya mahato maha , (1.) ............. sirisa bhâriyâ devasa putradasa varadasa kamadasa dhanadasa Vedisiri-matu
Satino strimatasa cha mâtuya sima .............. pathamaya ... (5.) variya . . . . . . . . . . . . Asnjagavaradayiniya masopa vasiniya gahatåpasiya charitabrahmachariyaya
likhavratayariñasundaya yana huta dhüpanasugaridhả yaniya ...... (6.) rûyasa ................. (yaneli yitham vano Agadheya-yamiño dakhina dina gavo baraza
13 aso cha 1 Anarabhaniyo yamiño dakhina dhenu ................ (7.) ................................... daklinayo dinâ gåvo 1700 hathi 10 ....
...........sa .. sisataraya [vjásalathi 289 kubhiyo rupâmayiyo 17 bhi ...... (9.) ............
.......... riko yariño dakhinâyo dina gavo 11,000 asi 1,000 pitsa pako ..................................... (10.) ................. 12 gamavaro 1 dakhinâ kâhâ panå 24,100 pasapako kahapana 6,001 Raja
suya-vamo ...................... sakatam
No. II.-D. Right all. (1.) hannagiritasapayutan sapato 1 aso l asaratho 1 gavînan 100 samedho bitiyo (yi]tho dakhinkyo
[li]na aso rupala inka]ro 1 suvaruna ... ni 12 daklinâ dini kåhå panå [1]4,000 gåmo 1 ha[thi] .....
................ [dakhi nå dina (2.) garo . sakatari dharnayirita[]sapayutam . . . . . . . . ovâyo yamiño ........... ............................. 17 clienu] ?.. Viva . satara sa
. . . . . . . 17 acha ......la ya ... jasapako cinco) .................. [dakhi]nå dinů su ... pini 12 tesa rup[ålam]káro 1 dakhina kahậpa[na] 10,000 ... 21
(3.) .......
1
1. 1:
1
-12:13
1 L. 1. In the beginning six or seven syllables have been lost. It is certain from the construction that the wonlomo must have stood before an adjective or noun qualifying thanmasa, and it may be inferred from the usual prctice observed in inscriptions that the first worl was Om or Sillun. The restoration (prajúpati un rests on the fact that in the Purinus Dharma is one of the Prnjáratis. In muhimărutinam the top of the mu is visible, as well as the vowel i and the top of the ra. For chain read cha.
PL. 2. The restoration Dakhinupatha seems to be certain, because the inscription was written in the Dekhan. The second part of the compound may have been surtsa, putino, or simino.
3 L. 3. The restoration bulaya is based on the photograph, where the letter la is faintly, but still distinctly realable before y.
+ L. & Posibly daudathi, which, however, gives no sense. The last figure in 289 is not certain. Pandit Bhagvanlil reads 189, but the 200 is plain on the facsimile and on the photograph. It is just possible that the sign read as 9 is a mutilated dia, and belongs to kubhiyo. Dakubhiyo might mean udakuthiye, "water-Vessels." Read rupimayiyo. See Childers, Pali Dict. s. v. rûpi. L. 10. Read amararu.
• I. 1. l'ossibly kaldpind 21.000 may have been the original reading, for before 1,000 only T 1000 appears, and the determinative sign, which must have been 10 or 20, has been effaced.
" L. 2. The figure after gåro is blurred on the facsimile. Pandit Bhagvanlal reads it 60,000. i 1. 3. Probably paisapoko dino is to be read. Irubably some more figures followed after 10,000.

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(5.).
(4.).... gavo 20,000 [Bhagalla-Dasarato yamño y[itho dakhinâ di]na[gâvo] 10,001 Gargatirato yaño yitho dakhina... pasapako patâ 301 Gavâmayanam yaño yitho[dakhinâ dinâ]gavo 1101 gavo 1100 (1) pasapako kâhâpanâ. pațà 100 Atuyâmo yaño.... [Galvamayanam yan[o] dakhina dinâ gâvo 1,101 Angiras[a]mayanam yaño yitho [dakhina dina gåvo 1101(?) Satâtiratam yamño [yalão dakhina g[a]vo 1100 Amgirasafti]rato yamño yitho[dakha]
(7.).
(8)
dakhinâ gâvo 1,101 ta
(9.)
(10.)
ná gâ[vo. (6)..... gâvo 1,002 Chhamdomapa[va]ma[natirato] dakhinâ gåvo 1,001 Amg[i]ra[satirato yam [ño yi]tho da[khina]. rato yitho yaño dakhinâ dinâ yamño yitho dakhina
tu
yaño yitho dakhinâ dinâ gâvo 1001 dakhinâ dinà gâvo. [Am]i[as]mayanamh chlovas
dakhinâ dina gavo 1,001 terasa... aga dakhinâ dinå gåvo [di]nå gavo 1,001 u.
[yaño dakhina dinâ].
100.
ta
dinâ gavo 1,000
NANAGHAT INSCRIPTIONS.
na.
sayam
Terasarato sa
61
Dasarato ma... 1,001 da
[lakhina
[la]khina dina
Translation. A.-Left Wall
3
1. "[Om adoration] to Dharma [the Lord of created beings]; adoration to Indra, adoration to Samkarshana and Vasudeva, the descendants of the Moon, (who are) endowed with majesty, and to the four guardians of the world, Yama, Varuna, Kuberal and Vâsava; praise to Vediśri, the best of royal princes! Of the king
2. "..
of the brave hero, whose rule is unopposed, (of the lord f)
the Dekhan
3. "By..... the daughter of the Maharathi, the increaser of the Amgiya race, the first hero of the earth that is girdled by the ocean and the best of mountains . .
1 L. t. The top, the sign for 1000 in 20,000, has been lost. The two letters Bhaga are not certain. The in garga is not certain. The sign for 100 in 1101 is blurred, but the amount paid for the Gavamayana mentioned in the next line is 1101.
L. 10. It seems doubtful if the tenth line was the last.
L. 1. Krishna and his elder brother Balarama are remotely descended from the Moon, and the expression satanam, literally "sons," must be taken in this sense. The form sata for suta may be owing to a clerical mistake, or to a fissure in the rock, but in some of the modern Prakrits, e.g. in Gujarati, suta is frequently used for suta. Among the guardians of the quarters Yama is named first, apparently because the inscription was written in the South. In my opinion the mangalâcharana ends with the word ledistrisa, " to Vedisri." It is hardly likely that that individual who is called "the best of royal princes" should immediately afterwards b mentioned as a king. It seems to me more probable that the word raño, "of the king," applies to another person. whose name is lost. To the same person apply the epithets also which are contained in the fragment of L. 2. It is impossible to say with certainty in what connection his name may have been introduced, but see the remarks below L. 3. The fragments in line 3-5 form, it would seem, one sentence, the subject of which is a dhapanasuyamdha (1. 5), "sacrifices odoriferous with incense," while the verb is huta, "were offered." The adjectives ending in the fem. instr. abl. gen. which precede the word yand qualified the queen who caused the sacrifices to be offered. The same person, it seems to me, is referred to by the words... sirisa bhariya, "the wife of... sri," Velisirimatu," the mother of Vedisiri," Satino sirimatusa matuya in line 4, and bald, "the daughter of," in line 3. It is not uncommon in inscriptions that queens and other females are described by giving

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ARCILEOLOGICAL SURVEY OF WESTERN INDIA.
4. "(11ho is the wife of ... śrî,' the lord who gives sons, boons, (the fulfilment of) desires and wealth, (who is the) mother of Vediśrî and the mother of the illustrious Sakti ...............
5. "Who gave a ... most excellent (image of a snake (deity), who fasted during a whole month, who even) in her house (lived like) an ascetic, who remained chaste, who is well acquainted with initiatory ceremonies, vows and offerings,-sacrifices, odoriferous with incense, were offered ................
6. “ of the king . . . . . . . . . . . . . sacrifices were offered. Description - An Agnyâdheya sacrifice (was offered), a sacrificial fee was given (consisting of twelve, 12, cows and i horse ;-an Anvârambhanîya sacrifice (was offered), the sacrificial fee (consisted of)..milch-cows ...............
7. "... ... . . . . . . . . sacrificial fees were given (consisting of) 1700 cows, 10 elephants .............
8. ".............. 289 (?) . . 17 silver waterpots ..............
.... a rika-sacrifice, sacrificial fees were given (consisting of) 11,000 cows, 1000 horses ...............
10. "...........12 ..., 1 excellent village, an(other) sacrificial fee (consisted of) 24,400 Kårsbâpaņas, (the gifts to the spectators and menials (consisted of) 6,001 Kârshậpaņas; a Rajasůya-sacrifice]. ..................... the cart
first their descent, next their position as married women, then the names of their sona, and last an enumeration of their virtues. If this conjecture as to the connexion of the three fragments is correct, it will, however, be necessary tu alter bhariya in line , which stands in the nominative case, to bhariyaya, the instrumental, and Veilisirimatu, a genitive, to l'elisirimituya, the instrumental. The name of the pious queen has been lost. Regarding the meaning of the worl Jahürathi see my remarks on Kärle No. 20, Reports, vol. ir, p. 107. "The best of mountains" is either the Himalaya or the Vindhya.
1 L. 1. The name of the king whose queen is here described is, unfortunately, mutilatel. As the remnant 'sirisu shows, it ended, like the names of some other Andhra kings, in ấri. Satino undoubtedly corresponds to Sanskrit Sakteh, and we have here the proof that the Saktikumára who is frequently mentioned in the legends regarding Vikramaditya and Satavahana as a son of the latter, really was a historical person; compare also Prof. Jacobi on the l'irachurita, in Weber's Indische Studien, ch. xiv, pp. 108 seq.
- L. 5. The translation of någavararlayiniya, " who gave a most excellent image of a snake deity," is of course uncertain, because the word may be mutilated in the beginning, and because núga means also "elephant" and Lara boon."
L. 6. [Yaneli yithain corresponds to Sanskrit yajñair ishtam, and is the impersonal passive construction. In the original there is a larger blank space left after yitham, which indicates that one part of the inscription is finishel. The worl vano, which opens the second part, corresponds to Sanskrit rarna (praśnsti), and has to be taken as an equivalent of the common Jaina vannao, which is used in order to imply that the conventional description of a person or thing mentioned has been left out, and must be supplied by the reader. It may be translated by "description" or " details." The horizontal stroke which follows rano is a stop, and used frequently in ancient inscriptions for the single or double vertical stroke! or, which latter occur both on ancient monuments and in modem MSS. The Agnyâdheya, "the kindling of the sacred fires," precedes all Srauta sacrifices. It is followed by the Anvärambhaniyeshţi, called in the text Anârambhaniyo yanño.
+ L. 8. I leare risulathi untranslated. The corresponding Sanskrit word rúsayashti means "a perch" for peacocks and other birds. It seems hardly likely that the same object is meant here. Regarding the figure compare the note to the transcript. The text las plainly rupimayiyo, but rapimayiyo is required (see Childers, Pali Dict. s. v rûpi.)
L. 10. In several cases the word dakhind, "sacrificial fee," occurs more than once in connection with the same sacrifice. Probably the several sets of officiating priests received in these cases separate gifts. Pasapako, "the presents to the spectators and meninls, corresponds to Sanskrit prasarpaka, literally "one who approaches." The latter word is used as a technical term for the spectators and menials who assisted at the sacrifices (sce the Pet. Dict. s. voce). It is evident from the context and from the phrase pasapocku ilin[o] in 13 that in this inscription "the presents given to such persons are intended, and that parajako stands for präsarpaka.

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YAXAGHAT INSCRIPTIOXS.
B. - Right Wall. 1. "Used for conveying a mountain of grain, 1 excellent dress, 1 horse, 1 horse-chariot, 100 kine. A second horse-sacrifice was offered; sacrificial fees were given (consisting of 1 horse with silver trappings, 12 golden ..., an(other) sacrificial fee was given (consisting of) 14,000 (?) Kârshậpaņas, 1 village .. elephaut ......., a sacrificial fee was given
2. . . . cows, the cart used for conveying a mountain of grain ...... an . . OVAYA sacrifice ........... 17 milch cows (?)..
3.............. 17 ........ presents to the spectators were given ... ........... a sacrificial fee was given (consisting of) 12.....1 (set of) silver ornaments for them, an(other) sacrificial fee was given consisting of 10,000 Kârshậpaņas
4. ............. 20,000() cows; a Bhagala-Dasarâtra sacrifice was offered, a sacrificial fee was given (consisting of) 10,001 cows; a Gargatrirâtra sacrifice was offered . ... ... the presents to the spectators and menials (consisted of) 301 dresses ; a Gavamayana was offered, a sacrificial fee was given (consisting of) 1,101 cows, a .. sacrifice, the sacrificial fee (consisted of) 1,100 (?) cows, the presents to the spectators and menials (consisted of).. Kârshậpaņas, 100 dresses; an Aptoryâ ma sacrifice (was offered)
5. .....; a Gavamayana sacrifice was offered, a sacrificial fee was given (consisting of) 1,101 cows; an Angirasâ mayana sacrifice was offered, a sacrificial fee was given (of) 1,101 cows; ......... (a sacrificial fee) was given (consisting of) 1,101 cow's; a Satâtirata sacrifice ........ 100 .......;... sacrifice was offered, the sacrificial fee (consisted of) 1,100 Cows; an Ângirasatrirâtra sacrifice was offered ; the sacrificial fee (consisted of ). . . cows .....8
6. ............ 1,002 cows; a Chhando mapavamânatrirâtra sacrifice was offered, the sacrificial fee ...........;...... råtra sacrifice was offered, a sacrificial fee was given . . . . . .;a .... tra sacrifice was offered, a sacrificial fee ... .........;a .... sacrifice was offered, a sacrificial fee was given (consisting of 1,001 cows ........!
7.) .........; a sacrificial fee was given (consisting of) . . . cows ........ ......; au Angirasamayana, of six years (duration) ........., a sacrificial fee was given, (consisting of) 1,000 cows ............ (a sacrificial fee) was given (consisting of) 1,001 cows, thirteen ...........
L. 1. The grain used for the sacrifices is brought to the sacrificial enclosure in a bullock-cart, which afturwards is made over to the priests. Hence a cart is twice enumerated among the fees. The sense of thiza, "conveying," seems to be clear from the context, but its etymology is not certain. The l'rukrit dictionaries and grammars give tara as an equivalent of tirichha (tirynk) and tryasra, which do not answer in this case, l'ossilly tansa may be here a noun of action, derived from the root tars, "to move, to shake." Saputo stanıl: for Sanskrit satpatta, "an excellent dress or piece of cloth" (see also below, line 4). I take garinan for the gen. pl. of gdri. "a cow," governed by satu," one hundred," which is expressed by a figure only. The expression " a second horsesacrifice" shows that the last sacrifice mentioned, the name of which has been lost, must also have been a horsesacrifice.
? L. 4. I am not able to find the Bhagalulusarútra in the Srauta-sútras. But as l'hagala is the name of an ancient Drahmanical teacher, it is not improbable that a rite, called after him, existeil. Regarding the Garyatri rátra, see Ascalagana Šruta-sútra, x. 2, 6. The Gavamayana is one of the Sattras, or sacrificial sessions. The Aptoryîma is a well-known Soma sacrifice.
# L. 5. The Angirasamayana is also a Sattra. I leave the name Satitirutu in its I'rakrit form, hecause I am unable to identify it in the Srauta-set 18. Regarding the Angirasatriritra, see An Srauta sútri, ii, 2, 1.
+ L. 6. Regarding the Chhandumaparuncinatriretru, see Pet. Diet., s. r. Chhandoma.

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8.).......... a Trayodasarâtra ......... a sacrificial fee was given, (consisting of) ... cows ................ a Dasaratra... . .... sacrifice, a sacrificial fee was given (consisting of ) 1001 cows ....... 9-10...............
No. 3— This and the following five inscriptions are incised on the back-wall of the Nåvåghat Care, above the positions of the heads of what were relievo figures now entirely destroyed.
Råva Simuka--Satavahano sirimato.
-"King Simuka Sâta vâhana, the illustrious one." No. 4
Devi-Yavanikara raño cha
Siri-Satakanino. -"(The images) of the Queen, Naganikâ, and the King, the illustrious Satakarņi."* No. 5
Kumaro Dhaya .....
-" The Royal prince Bhava ..." No. 6
Mahârathi Tranakayiro. --The Mahârathi feudal baron) Tranakayira." No. 7--
Kumaro Hakusiri.
-"The Royal prince Hakusiri." No. 8
Kumaro Satavahano.
—“The Royal prince Satavahana." No. 9-Over a cistern near the large care. This inscription is much later than the preceding ones, and belongs to the times of Gautamiputra Satakarni I. or Puļumâyi.
Sopârayakasa Govindadasasa
deya hama pochi. -"A cistern, the meritorious gift of Govindadasa, an inhabitant Sorpâraka (Sâpârâ)."
1 L. S. Regarling the Trayodlašarátra sacrifice, śr. Śr. sú. xi, 2, 1.
L 9-10. The only fragments remaining are not worth translating. It is, however, very uncertain if the inscription ended with line 10.
3 Pandit Dhayvanlal takes the word Simuka as an equivalent of Sanskrit srimukha, and attributes to it the same sense as to bhadramukha in the Jasdan pillar inscription. The objection to this exceedingly ingenious explamation is that si in all the Prakrits invariably becomes siri, or siri, and mukha either remains mukha, or becomes mugha or muha. It seems to me, also, that the adjective sirimáto, i.e., sirimanto, sriman, which follows the name, makes a srimukha superfluous, and its employment improbable. A different solution of the difficulty is suggested by the fact that Indian kings often have double names, the first being the real name, and the second either a family name, or a so-called Biruda. To the first kind belongs, 2.9., the familiar instance Prithviraj Chohan, and to the second the equally well-known Jesingh Sidhrij. In the same manner it might be that Simuku was the proper name of this king, and Satavahana his family name or Birwa. That there are good reasons for considering this view to be the correct one will be shown below in the remarks on these inscriptions.
• Nayanika, in S. Någanika, is a double climinutive from S. någa, "a suake."
The name was probably Dhayala, as a female name Dhayilâ occurs at Kuda, inscription No. 12.
The first letter of the name is not certain. It may be also read as ra or tha. I cannot give a transliteration of the whole into Sanskrit, but think that the syllables ayiro correspond to Sankrit irya. Regarding the meaning of the title Mahürathi, see Karle, inscription No. 20.
Hakusiri, which, according to the method of spelling used in the ancient inscriptions, may stand for Hakkusiri, would correspond exactly to Sanskrit Saktusri, "he whose glory is the sacrificial) harley-Hour." But it will be shown below in the remarks that it is probably a corruption of Saktiér.
See Ind. Ant., vol. xi, 336.

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Remarks. Owing to the mutilation of Nos. I. and II. the inquiry into the bearing of the Nânâghat inscriptions on the early history of the Dekhan presents very considerable difficulties, and its results must always remain open to adverse criticism, in a higher degree even than those deduced from other documents of the same class, because more conjectures and speculative combinations are necessarily required in order to obtain them. But it seems to me that a complete and minute analysis of the contents of these documents, and a careful utilisation of the information available in other inscriptions and in the Puranik accounts of the Southern dynasties, permits a combination of the fragments into a self-consistent story and a fuller solution of the riddles which they offer than might be expected at a first glance.
The fundamental principles on which the inquiry must be based are those three, the importance of which Pandit Bhagvânlal has already recognised, and which he has in part, at least, correctly applied in his article on the coins of the Andhrabhsityas. First, it must be assumed that the royal personages mentioned in the large inscriptions (Nos. I. and II.) are identical with or intimately connected with those represented in the broken relievos on the back wall of the cave, and named in the six small inscriptions accompanying them. Secondly, it must be acknowledged that they refer to the same dynasty, which has left records of its deeds and its liberality towards the Bauddha monks in the caves of Karle, Nasik, and Kanheri, and on the Amaravati stúpa, and which the Puránus call Andhras or Andhrabhsityas. Thirdly, it must be conceded that the characters of the Nânâghåt inscriptions belong to a period anterior by about 100 years to that of the edicts of Gautamiputra Satakarni I. and his son Våsishthiputra Puļumâyi.
As regards the first proposition, its probability is very great on account of the fact that the same cave contains the two sets of inscriptions, and that, as the characters show, both belong to the same period. What can be more natural than the assumption that the relievos are intended as illustrations of the large inscription, especially as the most superficial comparison of the labels over the heads of the figures with the large inscription shows that the former represent two kings, a queen, a Mabârathi, and three royal princes, while the fragments of the latter certainly mention a queen, one or possibly two kings, a Maharathi, and at least two princes? This probability gains considerably by the analogous custom pointed out by Pandit Bhagvânlâl, according to which both Bauddha and Jaina founders, restorers, and benefactors of temples, set up so-called Śâlikâs, i.e., their own and their relatives' statues in the sacred precincts, grouping the images according to the various generations. The occurrence of this practice in such widely distant countries as Gujarat and Nepal, permits us to infer that once it was universal all over India. Traces of it, I think, are also found in other Western caves, e.g., at Kârle and Kuda, where figures of kings and queens are introduced, which look very much as if they were intended for portraits. But in order to make the connection between the two sets of inscriptions and the figures really convincing, it is necessary to show that at least the number and the characters of the persons named in them actually correspond. To prove the identity or correspondence of all the names is, of course, impossible, because the majority of those in Nos. I. and II. have been lost or mutilated. Pandit Bhagvânlål, who has partly attempted this task in the article quoted above, arrives at the conclusion that the male figures with the short
1 Examples are found in some of Vastupala's temples, e.g., at Åbů.

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inscriptions represent three generations of the Andhra dynasty. 1. King Satavahana. 2. King Så takarni. 3. The sons of the latter, the Kumâras or royal princes Blâya[la] Hakusiri and Satavahana. He further identifies King Satakarņi with the royal prince (kumare) Vedisiri, and believes that the latter is referred to also by the word raño "of the king" (at the end of line 1), and is described as a Mabarathi and "increaser of the Angiva race" (line 3). The latter name he is inclined to correct to Andhiya, and to take its an equivalent of a Sanskrit adjective Andhriya,' derived from Andhra. Finally, he 13sumes that Vedisiri-Satakani was the person who caused the inscriptions to be incised.
I regret that I am unable to agree with a portion of my learned friend's remarks, and must differ from him on all his deductious, except that the relievos and their headings refer to three generations. In favour of the latter point particularly is the circumstance that the first king and the last Kumâra bear the same name, and that it is usual among the Hindús to name the grandson after his grandfather. The distribution of the persons named in these three generations, on the other hand, cannot be correct, for Pandit Bhagvânlal entirely forgets No. VI., the Mabarathi Tranakayiro, and neglects to notice the circumstance that this individual is placed between the Kumâra Blâya[la] (No. V.) and the Kumâras Hakusiri and Såta vâ hana. The latter circumstance makes it highly improbable that the three Kumâras belong to one and the same generation. As a stranger is introduced after Kumara Bhaya[la], it is more likely that this prince belonged to the second generation, and, in fact, was a brother of king Sârakani. This conjecture would become almost a certainty if it could be shown that the Maharathi was not a son of Satakani, but closely connected with him in some other way. An analysis of the contents of the first part of the large inscription will, I think, show in what relation the Mabarathi Tranakayiro stood to Satakani, and furnish further proof that the third generation consisted of two members only. It will also make evident that Pandit Bhagvânlal makes too much of Kumara Vedisiri, and errs in identifying him with King Satakani.
In considering the contents of the large inscription the first question is, Who is the chief person in it? Now, the central figure is a queen, whose name has been lost. Live 3 gives her parentage, deriving it from a Mabarathi, "the increaser of the Argiva race," whose name is also lost. Line 4 states that she was the wife of a king, whose name ended in ... siri, and that her two sons were Vedisiri and Sati. Line 5, finally, gives a catalogue of her virtues, asserts that she was "well acquainted with initiatory ceremonies (dikla), Vows (cratur), and sacrifices (yann), and contains the very important information that * sacrifices were offered by her (yañå hutit)." Thus, she and her affairs occupy three out of the five lines and a half over which the first part of the document estends, and it is said of her that she performed, or caused to be performed, those very acts, with the enumeration of which the second part of the inscription is filled. As another sentence ending in yawehi yithun," sacrifices were offered," followed the phrase yañá hutd and immediately preceded the worl runn,"description" or "details," it is of course possible to demur to the conclusion that the queen caused the particular sacrifices named in the description to be offered, and to contend that some other male agent was named in the last portion. Though it might, further, be urred in favour of such a conjecture that, according to the Sastras, women are not alloweil to offer Srauta sacrifices, and that Brahmanas who perform such sucrifices for them (striyâjaka)
In a djective whriy, is, however, not tracvalle in Sanskrit, where anillera, úmihra, and anthraku alone
occur.

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67
are severely blamed, yet that seems hardly probable, for in the sentence which ends with guchi yitham," sacrifices were offered," we have the impersonal passive construction and the genitive rayasa" of the king" (1. 6, first word). It is for this reason not likely that the clause contained any personal agent. Further, though in general Brahmans are forbidden to act as priests for women, that prohibition does not apply to queens who may be conducting the government of a state, either independently or for minor sons. In that case the disabilities attaching to the sex are removed by the position which the female occupies. Now, it seems to me that the queen described in the large inscription must have been ruling as guardian of her son, the prince Vedisiri. For though, as has been shown, she is the chief person in the inscription, "the best of royal princes," Vedisiri is addressed in line 1 with namo, "adoration to" or "praise to," and treated with the same reverence as the gods invoked in the beginning of the mangalicharana. That fact points to bis occupying a privileged and parti cularly high position. Further, in the enumeration of the queen's virtues (line 5), it is asserted that she "lived (even) in her home like an ascetic" (gahatapasú), and "remained chaste" (charitabramhachariya). Such behaviour befits a widow only, not a wife whose husband is living. A widow must, as is well known, never violate the duty which she owed to her husband, and it is particularly prescribed that she shall emaciate herself by fasts and other austerities. A married wife, on the other hand, has no business with such practices, and the duty of conjugal intercourse is incumbent on her. Hence, it seems that the two epithets gahatápast and charitabramhachariya clearly indicate that the king was dead. If that was the case, the conclusion that the widowed queen ruled during the minority of her son, and that that son was Vedisiri, follows from the namaskara addressed to him. If these combinations are admitted, the large inscription mentions-1. A defunct king whose name ended in . . . siri. 2. His widowed queen (name lost). 3. The father of the queen, a Mahârathi (name lost) of the Amgiya race; 4, 5, two sons of 1 and 2, the prince Vedisiri and the illustrious Sati. But there is still one line (2) which has not been taken into account. The fragment remaining speaks of a "brave heroic lord of the Dekhan whose rule was undisputed," and if the last word raño in line 1 is, as in my opinion must be,-connected with the words in line 2, it appears that he was a king. The individual referred to cannot have been the Maharathi mentioned in line 2. The construction forbids this, because the word bâlâya stands before maharathino. Moreover, as stated above, Mahdrathi was a title belonging to a feudal baron, and had a meaning similar to the title Mahisamanta. This follows clearly from the fact that in Karle No. 20 the Maharathi of the Okhalakiyas dates according to the regnal years of Pulumâyi. Again, the word raño and the fragment of line 2 cannot be connected with the preceding genitive Vedisirisa, because it is clearly impossible that a person who is called a royal prince, can at the same time receive the title "king" and be said to be the lord paramount of the Dekhan. Thus the only course is to assume that the words in question refer to a sixth individual, a second king, who, as his name stands before that of the consort of the pious sacrificer, either was his father or remoter ancestor.
If we now turn to the persons mentioned in the small inscriptions, it is clear that the number and the character attributed to each correspond almost exactly with those in the larger. They may be arranged as follows:
1 For the fact that queens ruled in India, compare Rajatarangini, i, 70: vi. 313 sq. and the grants of Queen Vijayabhattarika of the Chalukya rare, Jour. Bo. Br. As. Soc., vol. iii, p. 203; Iul. Aut., vol. vii, p. 163.

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X. III. King Simuka Satavahana (mentioned in Yo. I. 1-2 as king and lord of
the Dekhan) No. VI. Maharathi Tranakayiro (mentioned in No. I. as father of the sacriticing queen,
and as Maharathi of the Aingiva race)
Yo. IV. Queen Sayanika (the Queen who offertil the sacrifices
acording to No. I.)
King Satakani {(mentioned as the lord T... siri in Xo. I. 1. )
Yo. V. Kumara Blavalla (not found in Xo. I.)
=
Yo. VII. Kumâra Hakusiri
(No. I. Sati).
No. VIII. Kumara Satavahana (Vedisiri in No. I.)
The only difficulties which remain are (1) the discrepancy between the name Satakani (No. IV.) and that ending in ... siri (No. I.), (2) the discrepancy between the names of the two princes in Nos. VII. and VIII. and in No. I. Now, it must be noted that Satakani is not a proper name, but a Biruda or title, and that we have, at least, one certain case where a king who was called Satakani had a second name containing the word-siri, in that of the second Gautamiputra of the Nâsik and Kamberi inscriptions, whose complete name is in Prakrit Gotamiputa Siri-Yaña Satakamņi. The fact that the name of the second king in No. II. ends in ... siri, and in No. IV. is Satakani, is, therefore, no obstacle to their identification. As regards the names of the Kumâras the case is somewhat different. The Sanskrit form of the name of the prince called in No. I. "the illustrious Sati" is undoubtedly Sakti. The Prakrit word is the regular representative of Sakti, und we know, from the legendary history of Satavahana,' that a Saktikumâra belonged to his line. Though in general I do not attribute any historical value to those legends, yet I think it cannot be denied that they have correctly preserved some of the names of the persons whose lives they pretend to describe. Now, if Sakti is the Sanskrit etymon of Sati, it is quite possible that Haku, which, according to the method of spelling adopted in the old inscriptions, may stand for Hakku, is another stronger Prakrit corruption of Sakti. It ought not to be objected that, even admitting the philological possibility of the identification of Sati and Hakku, it is improbable that two such different forms should be used to designate the same individual in two closely allied inscriptions. For, to judge from the examples furnished by other ancient Prakrit inscriptions, the Hindus did not hesitate to vary the forms of names even in one and the same inscription. Thus we find in Nasik No. 14 the forms Puļumâyi, and in the postscript No. 15 Puļumavi, and Bhadâvaniya in No. 14 against Bhadâyaniya in No. 15. Similarly in the Jaggagyapetta inscriptions (Ind. Ant., vol. xi, p. 256), where a number of names occur formed with the word någa, "snake," we find sometimes någa and sometimes náka employed. Under these circumstances I not only take Sati and Haku to denote the same person, but to be two different forms of the same name. If the illustrious Sati and Prince Hakusiri are one, it follows that Vedisiri is another name of Satavahana, and it must be noted that Satavahana is just as little a proper name as Satakani, but either a family name or a Biruda. It will be observed that the order in which the two
1 See e.g. Jacobi on the trachurita, Weber, Indl. Stud., vol. xiv, p. 103.
The change of su to ha is not at all uncommon; see Kuhn, Påligrammatik, p. 45, 53 (where Pali sunisa, sunhil. anil huse for Sanskrit snushů ought to be compared), and the common name Hargha in the Amaravati in-criptions for Sangha; that of kta tu kku is just as usual as that of kta to tta. And there are at least some instances where final u appears for i; e.y. in Terrahu (Nasik inscriptions, Nos. 11 B, 15, 18) for Triraśmi. See also Kulin, ibidem, p. 25.

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princes are named differs in the two sets of inscriptions. In the large one Vedisiri stands first and Sati second, while in the short one Hakusiri appears before Satavahana. The cause of this discrepancy probably is that Sati-Haku was the elder by birth, but that the succession to the throne devolved on Vedisiri-Satavâbana, either for unknown political reasons, or because the elder brother was dead at the time when the inscription was incised.
In turning now to the second point-the question as to which Andhra kings of the Purâņik lists, the princes named in the Nânågbåt inscriptions have to be identified with,--I must premise that the link which connects the latter with the Andhra dynasty consists in the names Satavahana and Satakani. From the Nasik inscriptions Nos. 1 and 14 we learn that Krishna, Puļumâyi, and Gautamiputra Såtakani I. call themselves members of the "race of Satavâliana," and these same kings belong, according to the Purúņas, to the dynasty of the Andhras or Andhrabbrityas. Again, the title or Birua Satakamņi is given in the cave inscriptions to several members of the Sâtavâliana family, and in the Puranik lists, its Sanskrit original, Satakarņi or Satakarņi, appears repeatedly as the name of Andhra kinys. Moreover, it has not hitherto been found applied to any other princes but those of the Satavahana-Andhra family, and its use seems to be confined to them. Under these circumstances we may safely infer that wherever we find kings or royal princes bearing the appellation Satavahana or Satakani they presumably belong to the Andhra dyuasty of the Puranas, and may be looked for in the lists of those works. Pandit Bhagvânlal, acting on this principle, identifies the first king of the Nânâghåt inscriptions with the thirteenth king of the Matsya Purana, called Kuntalasvati, and the second with the fourteenth of the same list, Svậtikarņa. In favour of the first conjecture he adduces the fact that Vâtsyâyana's Kimasútra speaks of a Kuntalasvâmin-Śâtakarņi-Satavahana, and he thinks that probably Kuntalasvâmin was a second name of Satavahana. The name Svâtikarņa is, in his opinion, a corruption of Satakarņi. The basis of this identification is obviously very unsafe, and the Pandit's conjecture becomes very improbable if it is borne in mind that the Nànåghat inscription gives not merely Satavahana, but Simuka Satavahana as the name of the first king. I have already stated why I cannot accept Pandit Bhagvånlal's explanation of Simuka by srimukha, " of glorious face," and that Simuka probably is a part of the king's name, because the adjective sirimato, "the illustrious one," stands at the end of the inscription, and hence no other adjective of the same or similar import is required. But if Simuka is the proper name, it is not difficult to find in the lists of the Puranas the person named in the Nânâghât inscription. Simuka-Satavalana is in all probability the first king of the list of the Andhra monarchis, whose name is never given alike in any two works, but according to three Puriņas begins with a si or ši; according to two, contains in the second syllable the vowel u; and according to all, ends in ka. The Vayu Purâna calls the founder of the Andhra dynasty Sindhuka, the Matsya Purana Sisuka, the Vishnu Purana Sipraka and the Brahmânila Purúņu Chhismaka. Now this divergence of the authorities clearly proves that the name was one
1 Wilson, Vishwun. (ed. Hall, vol. iv, p. 194). Prof. Wilson's assertion that the Bharata calls the founder of the Andhra dynasty Balin is a mistake. For the word bali, which occurs in the verse quoted, must be taken as an adjective, not as a proper name. The real name of the "powerful Sadra servant of the Indlira race" has been left out. Wilford's assertion that the first Anithra is called Sudraka in the Kumariki kuna I doubt, for I have not found it in the copy which I have examined, but even if Wilford were right, the authority of the

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ARCHEOLOGICAL SURVEY OF WESTERN INDIA.
which did not readily give any sense if taken as a Sanskrit name, but had a strange, unSanskritie form. Hence the copyists blundered badly, and correctors tried to make a Sanskrit word of the unmeaning syllables. To this desire we owe the form Kshipraka (lit., "the swift one "), which, according to Dr. F. E. Hall, occurs in some copies of the Vishnu Purang, the form Sisuka (lit., "the infant "), and Sindhuka (lit., "born on the Indus." But patent as the fact is that the name of the first Andhra king is badly corrupted in all the Puranas which give it, there is not one form among those given which might be safely regarded as the original of the others, while it is not too much to say all that can be easily traced to misspellings of Simuka or Simeke. The reading of the Vayu, Sindhuka or Sindhuka goes back to Simuka, Sipraka, and Sisuka to Simuka, while Chhiamaka, the reading of the Brahmanda, which still preserves the ma, owes its initial chha to a bad pronunciation of sa. Everybody who is conversant with Devanagari MSS. will know how common the graphical mistakes which I here impute to the scribes really are. As regards the two forms Simuka and Simuka, they are for a Hindu, who, if he is not a grammarian, constantly exchanges these two sibilants, and especially before i and e in many districts always pronounces & for 8, perfectly identical. Similarly the forms Satavaliana and Sitaváhana, Satakarni and Sitakarni. Vasishtha and Vasishtha, Sâukhayana and Sankhayana frequently occur in the same work, and it is difficult to decide in such cases, except where the etymology is perfectly certain, which form is the original one. In the case of Simuka it is possible that the form with s is the older one, as the word might be derived by the affix uka (like prithuka, ridhuka, kramuka, &c.) from the rare root syam, which according to the grammarians means "to go," "to make a noise," and "to examine" or "consider." Simuka might thus mean like the familiar name Rudra, "the roarer." But it is also possible that the Prakrit Simuka is a strongly corrupted Apabhramsa or Desi word. Be that as it may be, the identification of Simuka Sâtavâhana with the Sindhuka, Śipraka, &c., of the Puriyas, is not affected by the etymological question. But there are other facts connected with the statements of the inscriptions and of the Puranas which support the identification. First, if Simuka is the founder of the Andhra dynasty, the fact that he bears the second name Sâtavâhana, agrees well with the fact that the inscriptions give Satavahana-kula "the race of Sâtavâhana" as the family name of the Andhra kings. Secondly, according to the Paris, the founder of the Andhra dynasty was succeeded by his brother Krishna (who appears in the Nasik inscription No. 1 as Kanba), and the latter by his son Satakarni or Satakarni. The second king of our short inscriptions is the illustrious Sitakani. Now it happens not unfrequently in Indian inscriptions that the genealogy is not given completely, and even important members are left out.' Even supposing, therefore, that the Puranik account of the order in which the first three Andhras followed one another is correct, there is no obstacle in the usages observed in Hindu inscriptions that prevents us from taking Simuka Sâtavâbana as the paternal uncle of Sâtakani.
The third argument in favour of the view that these inscriptions belong to the earliest times of the Andhras is furnished by the alphabet. If we compare the characters of the
Komárika Khanda, which appears to be a compilation of the 14th or 15th century A.D. (see my notes, Bombay Gazetteer, "Cambay "), would be of no value. Elsewhere (see, e.g., Ind. Stud.. vol. xiv, p. 105) Sûdraka is called a minister of Satavahana.
1 See Ind. Ant., vol. vi, pp. 60, 154; and vii, 66, where in a grant of Guhasena of Valabhi the name of his father Dharapatta has been left out.

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NAXAGHIAT IXSCRIPTIOXS.
Nânâghât inscriptions with those used by the later Andhra kings, Gautamiputra, Satakarni I., and Puļumâyi, at Nasik and Karle, the former show the following constant peculiarities, which consist in-(1) the absence of a thickening or small horizontal line or serif' at the top of letters which begin with or consist of a vertical stroke, like ka, pa, ra, va, &c. ; (2) the absence of curves in the lower portions of the letters ka and ru; (3) the roundness of the letters pa, ya, la, and ha, which in the later inscriptions are angular; (1) the form of the letter da, which consists of a small vertical top stroke, a deep irregular curve open to the left, and a small vertical stroke at the bottom, which latter, in the later inscriptions, has been changed to a horizontal stroke turned to the right; (5) the form of the letter chhu, which consists of a circle divided by a long vertical line, while the later inscriptions show two small circles joined together, with a very short vertical over the junction or over the first circle; (6) the use of the symbol su for 100 instead of the symbol su. All these peculiarities are archaic, because they agree with the oldest form of the Southern Indian alphabet, i.e., that which the Mauryas use. A number of other letters vary in their forms and sometimes agree with the Maurya characters, and sometimes with those of the later Andhras. In some cases we find other variations which are not traceable elsewhere; thus the initial a has the Maurya form in pratihatachakusa (No. I. 1. 2), and in aingiya (No. I. 1. 4), the later Anilhra form in aso (No. I. 1. 6) and aso (No. II. 1. 1), and an unusual shape in asaratho (No. II. 1. 1), aingirasam (No. II. 1. 5), &c., where the two left hand strokes are curved upwards and downwards. Again, wu, chu, and mu usually show the round Maurya forns, but the first is angular, e.g. in derânarie (No. I. 1. 1), in cariya (beginning of No. I. 1. 5), and in deri (No. IV.), the second has the later shape in chu (No. IV.), and the third is angular, e.g. in dharmasa (No. I. 1. 1. Finally, the letters ga and ta usually agree with those of Pulumâri's inscriptions. But in sugara (No. I. 1. 3), and still more in aningira[tire ]to (No. II. 1. 6), the ga has the angular form used by the Mauryas. The same remark applies to the tu of satino (No. I. 1. 4), dhunagiritansu (No. II. 1. 2), and a few other cases.
The inferences as to age drawn from these facts will be considered further on. For the present it will suffice to point out that, according to the epigraphical evidence, these documents may be placed a little but not much later than Asoka's and Dasaratha's edicts. But what, in my opinion, most clearly proves that they belong to one of the first Audhras is that their graphic peculiarities fully agree with those of the Násik inscription (No. 1) of Kaņla or Krishna's reign. In the latter we have the same forms of da, ka, ja, ra, la, ra and ha, the same absence of the thickening or serifs at the top of the vertical strokes, and the same vacillation as to the form of tu and ma. This complete identity of the characters very strongly corroborates my view that the Satakarni whose wife caused the Nànågbåt inscriptions to be incised is the Satakarni whom the Puranas call the son of Krishna and the third Andhra king. In conclusion, I have to add two more remarks. First, I must repeat that I do not feel justified in trusting the assertion of the Puranas that the third king (Satakarņi) was the son of the second (Krislina). He may have been the son of the first and have come to rule only after the death of his uncle, for it is a very common occurrence in Indian history that an unele assumes the government instead of a nephew who is a minor at his father's death. The fact that Krislina's name does not occur in the Nânåghat inscriptions is not absolutely irreconcilable with the Puranik account, but it is more easily explained on the supposition that Satakani was Simuka Satavahana's son. A usurper would, of course, not be noticed. The Puranik accounts of the Audhras, moreover, as is

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72
ARCHEOLOGICAL SURVEY OF WESTERX IXDI.1.
well known, are not very accurate, and their being mistaken on such a detail as the exact relatiouship of the rulers is very probable. Nevertheless, I prefer to leave the question open. Secondly, it might be objected to my theory that the name of the fourth Puranik king, Purņotsanga, does not agree with that of Satakani's son, who is called VedisiriSatavahana. One answer to this objection would be that the name Půrņotsanga is clearly a Birnila, and its bearer certainly had one or perhaps more other names. He may, therefore, be identical with our Vedisiri-Satavahana. The difficulty admits, however, of a very different solution. It is not impossible that, though Vedisiri-Satavahana was heir-apparent, he may never have come to rule at all. It must not be forgotten that the Puranik lists contain neither a Vedisiri nor a Satavahana, and the question if our " Lest of roval princes" ever ruled, or if he is hidden under the name Purņotsanga, must for the present be left undecided.
As regards the thiril point, the age of the Nânâghât inscription and the chronological position of Simuka, Kanha, and Satakani, I can here only indicate shortly my views, which differ considerably from the chronological theories of Professor Wilson, as well as from those of Mr. Bhâu Dhaji and Pandit Bhagrâulàl. I find it impossible to trust with Wilson to the statements of the Puranas regarding the order and duration of the Maurya, Sunga, Kåņvâyana, and Andhra dynasties, and to fix the accession of Simuka-Sipraka, in 21 B.C., by the simple proceeding of adding the years of the first-named three dynasties, and deducting the total from 312, the year B.c. in which Chandraguptas' coronation is supposed to have taken place. This method is charmingly simple, but hardly in accordance with the canons of historical research. Its incorrectness is proved by the fact that it throws the reign of Pulumâyi, whom Ptolemy in 150 A.D. mentions as a ruler of Baithana or Paithau, into the fourth century A.D. On the other hand, I am unable to agree with Mr. Bhâû Daji and Pandit Bhagvanlal that Gautamiputra Satakarņi I., who overthrew the Kshatrapa Nahapâna, must have done so between 121-135 A.D., because Nahapana's latest date is Samvat 46, and this Samvat is the Saka era. Nor can I assume with them that Ptolemy's dictum, * Baithana, the royal residence of Siri-Polemaios," must mean that Siri-Polemaios, whom they, following Lassen, rightly identify with Gautamiputra Satakarņi's son, SiriPulumâyi, ruled at Paithân-Pratishthana, at or shortly before the time when Ptolemy wrote, i.e., in 150 B.C. Least of all can I concede to Pandit Bhayvanlal that it is permissible, after upsetting the chronological system of the Puranas, to invoke their help for chronological purposes, and assume that the years which some of them allot to the various reigns have been correctly given, and to fix the dates of kings with the help of the Puranik figures. As regards Ptolemy's statement, it gives nothing else but an extreme limit beyond which the reign of Puļumâyi-Polemaios cannot be placed. There are good reasons for believing that the two names denote the same person. But as we do not know from what source Ptolemy drew his information, and as a note like that which he gives would be equally correct both if Puļumâyi lived a long time before the veographer, and if he were his contemporary, it is not possible to make Ptolemy's assertion the starting-point of a chronological calculation. Further, as regards the Puranas, their
1 I trust that I shall soon be able to treat the question more fully in a treatise "On the Royal Inscriptions of the Western Caves."
Similarly a yeographer of the present day describing Germany would be quite correct appending to the name Berlin, the noto, "the capital of Frederic the Great," and a historian of future ages who would infer from this statement that Frederic the Great ruled in 1882, would make, as we all know, a serious blunder.

Page #110

2
NANAGHAT INSCRIPTIONS.
aim is to bring the history of India into the frame of the Yuga theory. For this purpose their authors have to pile dynasty on dynasty in order to fill a space of many thousand years. Historical research has shown that they possessed some reliable information not only as to names, but even as to years. In the case of the Andhra dynasty, the coins and inscriptions prove that the order in which the corrupt forms of the names Gautamiputra Satakarni, Pulumâyi, Sakasenn (Sirisena) Mathariputra, and Gautamiputra Yajasri Satakarni are given, is perfectly correct, as well as that Simuka, Krishna, and Satakani reigned a considerable time before the former princes, and followed each other closely. But it by no means follows that all the other names or the order in which they are given are reliable. Nor is there any guarantee that the dynasty of Simuka-Sipraka ruled during about 450 years, much less that Simuka-Sipraka reigned 350 or 360 years before Gautamiputra Satakarni L All these points have to be proved. Though I think it right and necessary, therefore, to look to the Purias for the kings mentioned in the inscriptions, I deny the possibility of making up a chronological account of the Andhras with their help. It seems to me that the only means for approximatively fixing the age of the group of kings-1. Simuka, 2. Krishna, 3. Satakani-and of that containing 1. Gotamipata Satakarni, 2. Pulumâyi, 3. Sakasena Madharipata, 4. Gotamiputa Siriyaña Satakarni and 5. Chandasiri, are epigraphic evidence, and the synchronisms with the Western Kehatrapas. who date according to an era, not according to regnal years. The synchronisms which the inscriptions and ruins allow us to establish are: 1. Gotamiputa Satakarni was a contemporary of Nahapdns. 2. Pulumâyi was a contemporary of Chashtana. 3. Gotamiputa Siriyaňa Sâtakamni was a contemporary of Rudradâman,' whose reign fell between 72 and 101 of the era used by the Western Kshatrapas. The initial point of the latter era can be determined approximatively by the following process. The Kshatrapas ruled over Malava. Eastern Rajputânâ, and Gujarât. Their power was destroyed by their immediate successors the Guptas, whose first date in Mâlavâ is the Gupta year 83, while the latest date on the coins of the Kabatrapas is Sam 310. These two dates must, therefore, nearly correspond. The Gupta era began about 190 A.D., and the Gupta year 83 to circiter 273 A.D. Hence the beginning of the Kshatrapa era falls about the middle of the first century B.C., and the reign of Gotamipata Satakanini I, who destroyed Nahapana's power, a little earlier. In order to determine the date of the group Simuka, Kapha, Satakani, nothing but the epigraphic evidence is available. It seems to me that a comparison of the characters of Kanha's and of the Nâuaghat inscriptions with those on the coins of the earlier Sunga kings, as well as of Dhanabhûti's inscription on the Bharahut gateway, which, owing to its beginning suganam je, i.e. Sungandm rijye, "In the reign of the Sungas," must be counted among the documents of Pushyamitra's successors, incontestably proves that the Nanight and Kanha's Nasik inscriptions belong to the first half of the second century B.c., ie. were incised between 200-150 B.C. It agrees with this estimate that the differences between the characters of Gotamiputa Satakarni's and those of the Nânâghât documents are such that it is not possible to place them, as Pandit Bhagvânlâl has also seen, at a distance of more than about 100 years.
73
1 The latter assertion becomes particularly probable by Campbell and Bhagvanlal's discovery of a coin of Sâtakamni designed on the model of the Kshatrapa coins.
General Cunningham's unpublished coin.
3 This date is now substantiated by Sir E. C. Bayley's discoveries of Gupta dates on the Kalul coins and other epigraphic evidence.
K

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74
ARCHEOLOGICAL SURVEY OF WESTERN INDIA.
It now remains to notice the importance of the large inscription for the history of religion and civilisation in India. First, it proves more clearly what indeed may be inferred from the names of some Andhra kings, e.g. from Siriyaña or Yajňaśrî and from the Nasik inscription No. 14, that this family from the beginning to the end adhered to the Brahmanical faith, and, though willing to support Bauddha mendicants by liberal gifts, did not follow their heretical teachings. This fact, to which I have pointed already in my introduction to Apastamba (Sacred Books of the East, vol. ii, p. xxxvi), taken together with the other fact that Southern India produced a number of ancient schools of the Taittiriya Veda and of the Samareda, some of which seem to have had their home in the Audhra country, disposes of the view frequently advanced that the non-Aryan races of Southern India owe their civilisation to Buddhism and Jainism, and that Brahmanism is, in Southern India, a modern interloper. Secondly, the second part of the large inscription shows that the assertion made in the school-books of the Brahmans regarding the costliness of the great Vedic or Srauta sacrifices are not exaggerated, and that the so-called Ddnastutis, occurring in the Rigveda, name comparatively speaking small largesses which the Rishis received from their royal patrona. Thirdly, the invocation namo Samkamsana-Vasudevinash Chasidasútánam mahimavatânam, "adoration to the two descendants of the Moon, Samkarshana and Vâsudeva, who are endowed with majesty," furnishes an important addition to the materials proving the early prevalence of the worship of Krishna and his family in other countries than the Doab, where the Greeks already found the club-bearing Krishna-Vishnu installed as the tutelary deity.
II. KANNERI INSCRIPTIONS.
The first fifteen inscriptions, given below, have been read according to the facsimiles on pl. li. For the following ones I have used Dr. West's eye-copies (Jour. Bo. Br. Roy. As. Soc., vol. vi, pp. 1-14) and some unpublished materials. A portion of the Kanheri inscriptions has been translated by Dr. Stevenson in his usual style (loc. cit. vol. v. p. 1 seqq.)
No. 1 (West's No. 1) beneath a standing figure of Buddha, in a recess behind the dâgobâ Cave No. II.
1. Nannavaidya
2. râno
3. Bhaskaraḥ,
4. Bharaviḥ
5. Chelladeva
6. Boppai
7. Bhatta Khasu avval po8. ho1 [||]
The inscription, which shows some Sanskrit nominatives, and ends with two Prakrit words, seems to record merely the names of some Brahmans who visited the cave, viz., Nanna, i.e., Naná, a physician; Bhaskar, Bharavi, Chelladera, Boppai, i.e., Vopadeva, and a priest or Bhattji, whose name may be read Khasu or Bess. The concluding two Prakrit words are not quite clear to me, but it seems likely that their meaning is equivalent to the Juina phrase witym progamati, which is often read on votive statues. Arva-i might stand for Sanskrit aryayam, or aryaye. Alphabet, Western type of the fourth or fifth century.

Page #112

KANHERI INSCRIPTIONS.
(West's No.2)
No. 2, on the back wall of Cave II.' above a bench-
1. Nasikakasa Naka
2. nakasa sata deyadhama []
"A seat, the meritorious gift of Naganaka (Nakanaka), (an inhabitant), of Nasik."
Language, Pali; charac
The word sata is probably a corruption of Sanskrit sudah. ters, Andhra type of the time of Pulumâyi, or a little earlier.
(What's AG. 3)
No. 3, in the same cave, near a tank
1. Kaliyana[n] suvanako[ka]rasa Samida
2. tasa saha sagha[ghe]na pani[ya]ka deyadhamma [] -"A cistern (?), the meritorious gift of the goldsmith Samidata (Svâmidatta), of Kalyana (associated) with the community (of ascetics and lay-brethren)."
Dr. West's facsimile reads plainly Kaliyand (ablat.) which is required, and sogâne, i.e. saghena or saghend. Language, Pali; Letters, Andhra; Date, about or shortly after Pulumâyi's time.
(What's No. 4)
No. 4, on the right-hand gate-post of the Chaitya cave (No. III.)—
1. Raño Gotam[iputasa Sâmi-Siriyañasa]
2. Sotakamnissa [samvachare . . .
3. mhapakhe pathchame [5 divase
4. vânijakehi utû(?).
5. nuya upamanehi gâ[.
6. khâtiyehi bhâtû[hi.
7. Gajasenena Gajami[tena
8. kapathâyi cheti[ya. .
9. âchariyânamh nikâ[yasa
10. niyânam parigahe pa[tiṭhâpitam.
.]
1 See ante, vol. iv, p. 63.
3 Possibly unha is to be read.
.]
.]
Bhalaya]
•
-]
-]"
11. tapitûnam abhatitâ[nami].
12. půjâya kutumbini[na bâla]kânam bâli[kânam]
13. savatasa bhagineyâna nik[â]yasa nâti] 14. vagasa cha aga pațiasiya savvasa[tânari] 15. hitasukhaya hetu [1] etha cha nava ·] 16. ka pavajito therâ bhadata-Achala bhadarn[ta-] 17. Gahalâ bhadamta-Vijayamitâ bhadata-Bo[dhiko] 18. bhadata-Dhamapâlâ upasako cha negamo A[nada-] 19. puto Aparenuko samâpitâ[|] âchari[y]âna theraṇami 20. bhadata-Seumlânam sisena uparakhitana bha-5 21. data Bodhikena kata selavadhakihi [naya]kami22. sehi kadhichak[e]hi mahakatak[e]hi khadara23. kinâ cha mîțhikenâ [||]
J
Read uparakhituna; Uha looks like su.
MA]
75
.]
("On the... day) of the fifth fortnight of the hot season (of the . year) of the king, the son of the Gautami queen (the lord Siriyaña) Satakarni. By the merchants ., born of.. nu, ... the khatiya brothers . . . Gajasena. Gajamitra..
(was erected) a chaitya which will endure until the end of the alpa,
Read Satakamnissa.
4 Possibly sera. tasa to be read.

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IRILEXICAL SURVEY OF WESTERN INDIA
in honour of thuir deceased parents . . . . . . and, after sccuring it most excellent share (w the merit) for their wives, sons, daughters, stepbrother, the crowal of their sister's sons. and the multitude of their blooul relations, also for the well-being and happiness of all sentient creatures. Au . . . . an ascetic, the There, the reverend Achala, the reverend Ghula, the reverend Vijayamitra, the reverend Budhika, the reverend Dharmapala and the lay worshipper, the merchant Aparenuka, the son of Ananda, have completed (this) new (1) ... here. (The work has been executed by the reverend Bodbika, the pupil of the teacher (und) There, the reverend Seula, (who acted as) overscer, together with the stonemasons ........... and with the polisher Skandaruki (Khadaraki)."
Regarding the state of the inscription and the causes of its mutilation, see Dr. West, loc. cit. The restoration [Bhalaya niyancım (1.9) is supported by No. 37, (West) 1. 2. The wording of the latter inscription must be compared for the next phrases of our inscription (1. 10-15). At the end of line 13 mitu or bandhu may also be thought of. It is difficult to offer a plausible conjecture for the restoration of the end of line 15. I think of war-kumari, which must have been followed by the name of the parajito, the last syllable of whose name ka (read ko) is preserved in l. 16. It seems to me that the Kanheri Chaitya was begun by the merchants Gajasena, Gajamita, &c., and finished by the persons named in 1. 15-19. The name anailu (1. 18) may be restored according to No. 15 (West, 11-1. 3, 4), where the names of Aparenuka's relatives are given in full. For the active meaning of sumipita" have completed, compare patitlâpita" has erected” in the Jaygayyapetta inscriptions (Inl. Ant., vol. xi, p. 256). Seuila is a curious name, but may stand for Saivalu. Ll. 22, 23 contain several difficult words which apparently denote various artisans. The modern Gujarati kulije, "bricklayer," may be compared with kuachichaka.
(Weats 16.5) No. 5, on the left-hand wate-post of the Chaitya cave (No. III.)
1. .......... khabhálakaresu adha....... aka .]ch[e]tiasa bha
..... lakira-a . [ra]vayitâna ya 4 .. akhaya niri (dalta Surakibâre la 5. ... [ti]ni 3 Kiliane Ilalikavihåre cheti6. ... muthana-ila ovarakini Patithane viha 7. . . tiupasadari va chetinghara ovaraka terasa & sa-aklavaniviki [R]ajatalika-Pathanapathe 9.. sana chulika . ya kuți kodhi cha chonità sarla10. sevajuva (vihre sagharamo sa-akharaniviko k[a] 11. rijito puna tha deyadhamâni cha ananipi [käriltäni [1]
This inscription appears to record, besides a benefaction at Kanheri, various meritorious gifts which the donor bestowed at other places on the Bauddha monks. The fragments permit us to recognise the following details :--1. Some addition seems to have been made to the Chaitya at Kanleri (1.2). 2. A perpetual endowment, the purpose and nature of which have been lost, was given (1. 3). 3. In the Zilla of Súpårå (Sopârakâhâre) three (possibly cells) were added to some building (1. 4, 5). 4. In the Ambálikâvihara situatul at Kalyana (Kalliene in the Konkan), a Chaitya, a hall of reception (upathanasála) and cells for the monks (oraraka) were built (1. 5, 6). 5. At Paithân (Patithâne) a Chaityagrihu and thirteen cells for the monks (oruraki terasa) together with a perpetual endowment (l-ahhayiriki) were given (1. 6, 8). 6. In the pargana or tåluka of Paithân,

Page #114

KAXHERI IXSCRIPTIXS.
-
Sakyah
called Rajatalaka(?), a small temple (kuți) and a hall (lol) were erectul' at the vilára of Sevaju (?), (1. 8-10). 7. A monastery (saglåràmo) was built (kirapito) and endowed with a perpetual grant (s-akhtyaniciko). These and other meritorious gifts were made, its the donor adds, for his own benefit (pu[na]thu). Alphabet, Indra type of the time after Puļumayi.
(wests AG6) No. 6, under a figure of Buddha in the verandah of the Chaitya Care (No. 111.) -
1. Bulubasya bhagavatas Sisanânukäritraipita kopallivava 2. thadanta-Dharmmavatsa-sishyasyal hiker luilhaghoshasya
3. mahagan Thakutivârikasya Bhagavat-pratimeyani deyadharmmah (1) --" This image of Bhagavat, (Budilha, is) the meritorious gift of the ascetic Buddhaghosha, the guardian of the great gandhakuti, and pupil of the reverenil Dharmavatsa, a teacher of the three Pitakus, who follows the religion of divine Buddha."
The reading vârikusya (see, however, the Pet. Dict., sub. voce wig câriku) is not absolutely certain. It may be charike, and be translated " who undertook a pilgrimage to the great gandhakuti." By the latter term, as the position of the inscription shows, the great Chaitya is meant. Language, Sanskrit; letters, Western alphabet of the fourth or fifth century A.D.
(West's no.7) No. 7, Junder another figure of Buddha' in the verandal of Cave No. III. -
Deyadharmmoyam Säkya-bhikshu[r] Dhurmmaguptaya [] — “ This is the meritorious gift of the Bauddha ascetic Dharmagupta." Letters and language as those of the preceding.
(weats No. 8) No. 8, on a small bas-relief dagoba in the verandal of Cave No. III. -
Ye dharmma hetuprabhavâ teshi[ ....). The beginping of the Buddhist creed. Language and letters as those of No. 6.
(weiht No.9) No. 9, inside a small chamber to the left of the entrance of the Chitya Cave (No. III.) -
1. Deyadha2. rruinoyam a 3. cháry va4. Buddhura5. kahitasya [ 6. anena 7. survvasaX. tvá Bulha
bhavantu (.]
-" This is the meritorious gift of the teacher Buddharakshita. May all living beings thereby become Buddhas."
Letters and language as those of No. 6.
, to buildi.
1 Chuwita, compare Gujarati clam
See vol. iv, p. 61.

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4. tluba [1]**ata baadama
ARCHEOLOGICAL SURVEY OF WESTERN INDIA. (Wests no.le . No. 10, in the small chamber, No IV. (West), just north of the Chaitya Cave -
1. Sidhani heranikasa Dhamanakasa bhaya-a 2. Sivapalitanikaya devadlatima 3. therâna bhayata-Dharumapâlânam
4. thuba [1] -"Success! The stúpa of the Thera, the reverend Dhammapala (Dharmapala), the meritorious gift of Sirapalitanikâ, the wife of the goldsmith Dhamanaka (Dharma)."
West's No. 10. Mr. West's facsimile reads plainly bhayda, i.e., bhayâya, while Pandit Bhagvânlal's omits the final a. Date of the inscription, the interval between Pulumâyi and Gotamiputa Siri-Yaña Såtakanni II.
(whats 10.1!) No. 11, in a recess over the tank, No. V. (West) on the path up the hill1. .. .. .. [Vá]sishth[i]putrasya sri-Sata[karn]i[s]ya derya[h] Kärdlamakarājavamsapra[bha]y[]y[a] maha
kshatra[pa] Ru . [p]utry[Ah] ... 2. . . . . . . . . . . . . . . . śya ... v[i]śvaspasya amâtyasya Saterakasya pâniyabhîjanari deyadharm[m]a[h 1]
-"Of the queen ... of the illustrious Satakarņi Vâsishthiputra, descended from the race of Karddamaka kings, (and) daughter of the Mahakshatrapa Ru(dra) ............. of the confidential minister Sateraka, a water-cistern, the meritorious gift."
As the connection between the royal lady, mentioned in l. 1, and the minister in l. 2, is not clear, I can do no more than translate the remaining words literally. It seems, however, probable that the minister executed the work at the command of the queen. Language, Sanskrit; alphabet, Western Kshatrapa type of the times of Rudradâman I. Karıldamaka probably means "of the town or country of) Kardama." A locality called Kardamila is mentioned in the Jahahharata, see the Petb. Dict., 8. voce. For further historical combinations see Ind. Ant. xii, “On the relationship between the Andhras and the Kshatrapas."
(Wasts 10.12) No. 12, above a tank with two openings to the left of Cave No. VII.--
1. Sopûraga negama2. sa Samikupasaka
3. sa podhi deyadhama [11] -"A cistern, the meritorious gift of the lay-worshipper Samika [Śramika!, Svamika ?], a merchant of Supârå [Sorpâraka]."
Language, Påli; letters, Andhra type of the time of Gotamiputa Såtakamni I. or Puļumâyi. (West's MG 3) No. 13, close to the preceding
1. Chemulakasa heranikasa 2. Rohinimitasa putasa 3. Sulasalatasa podhi
4. deyadhanıma [1] -"A cistern, the meritorious gift of Sulasadatta, son of the goldsmith Rohinimitra of Chemula" (Simylla, Cherval, or Chaul).
1 See vol. iv, p. 63.

Page #116

KANHERI INSCRIPTIONS.
Language, Pali. Letters, Andhra Date, the period between Satakani of the Nanaghat and Gotamiputa Sâtakamni I., as is shown by the archaic form of the letter da and the prevalence of round strokes in sa, pa, ha, and ya.
No. 14 (West's No. 19), outside the verandah of Cave No. XXXVI.
1. Sidham raño Ma[Ma]ahariputasa Svâmi-Sakasenasa
2. savachhare 8 gi pa 5 diva 10 etâya puvâya ka
3. liyanakasa nekamasa Venhunamdisa pûtasa nega
4. masa gahapatisa... tisa l[e]na pa[ti]thâpi
5. ta saliâ âyyak[e]na. sena saha pitu[na] Venhuna6. dina sahâ mâtuye Bodhisamaya saha bhâ
7. [tunâ..] hathinâ sahâ [sa]vena [n]i[kâyeneti]
-"Success! On the tenth day of the fifth fortnight of the hot season, in the eighth year of the king, the lord Sakasena, the son of the queen of the Mathara (Madhara) race. On the above (day) the merchant and householder. . . . . ti, the son of the merchant Vishnunandin (Veuhunanidi), an inhabitant of Kalyana, made a cave, (he being associated) with the venerable . . . . ., with his father Visnunandin, with his mother Bhadhisamâ, with his brother . . . . hastin (hathi), and with the whole multitude (of his relatives)."
Sakasena appears plainly on Mr. West's eye copy, while on Dr. Burgess's facsimile it looks like Sikasena. Bhagvânlâl's emendation (Jour. Bom. Br. R. As. Soc., vol. xii, p. 408) Sirisena requires confirmation. According to Bhagvanlal's facsimile the name of the donor ends in tta, according to Dr. Burgess's in ti (Sivablati). Regarding the place which Madhariputa Sakasena holds among the Andhra kings, see Bhagvanlal's remarks, loc. cit., and vol. xiii, pp. 306, 307.
79
No. 15 (West's No. 44), on the left-hand side wall outside the verandah of Cave No. LXXXI.
1. Sidham ||
2. Raño Gotamiputasa Sâmi-Siriyaña-Satakanisa sata[va]chhare 16 gi-2
3. mh[a]na pakha 1(?) divase 5 Kâlayânavâṭhavasa negamasa Ana
4. daputasa usâ[pâ]sakasa Aparenusa sa[pa]rivârasa sahâ
5. kudubiniya Ânadamatu Ju()vârinik[a]ya saha balakena Anadeņa
6. saha cha sunh[a]hi Ana... la. sipecha(?) dhamadev[i]ya
7. saha [cha]... vena Ahavi(?) apana âmâpitaro udisa 3
8. pâva[te] Kanhasele lenai kodhi cha deyadhama[m] châtudise 9. bhikhusaghe padithapita sâvasat[a]nam hitasughatha []
10. etasa cha akhayanivi datâ kâhâpanân[i] satâni be 200
11. saghasa yeva hathe palike sate etha cha adhapana
12. khetiyasa kheta gâme Magalathâne bhojâ kapati eto
13. samgheņa dâtavam chivarika solasaka paliko cha mâse utukâle []
-"Success! On the 5th day of the 1st (?) fortnight of the hot season, in the year 16
of the king, the son of the queen of the Gautama (race), the lord Siriyaña Satakani. The lay-worshipper Aparena, the son of Ananda (Anada), a merchant residing in Kalyana,
1 See Arch. Report, vol. iv. p. 70.
L. 2. Possibly Siriyamña; the last sa of Satakanisa stands below the line.
3 L. 7. The letters in the middle of the line are very indistinct and uncertain; perhaps puhariapena or alena to be read.

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has excavated, together with (his) family. (viz.) together with (his) wife Jurâriņika (?), the mother of Ananda (Anala), together with his son Avanda (Anada) and together with his daughters-in-law, (the wives of) Ânanda . . . . . . . . Dharmaderi (Dhậmadevi) and together with .......... a cave and a hall, in the mountain, the hill of Krishna (Kanhanela) for the community of the asceties from the four quarters of the horizou (to be) al meritorious gift for the benefit of his own parents, and for the welfare and happiness of all living beings.
"And he has given a permanent endowment (of) two hundred kúrshápanas, 200, even into the hand of the community, two hundred bearing (a monthly interest of one kárshápanu. And here the field of the hulf-pana-owner, in the village of Mangalasthana (Magulathina) may be enjoyed. Out of the interest and the revenue of) that the community shall give 'a piece of sixteen' for clothing and in the season the value of one kärshapana a month."
The date of the inscription proves that the figure 19 or 20, which some copies of the Puranas give for the duration of Yajñasri's reign, comes nearer the truth than Professor Wilson's statement that he ruled nine years only. The endowments appear to be two(1) a principal of two hundred kårshậpaņas, bearing one per cent a month (see Arch. Rep., vol. iv, p. 102, No. 9), and (2) half a share of the produce of a field at Mañgalasthana, the modern Jagthan, which lies in the neighbourhood of the caves (Jour. Bom. Br. R. As. Soc., vol. vi, . 13). I take adhapana-khetiyasa, which, as this inscription invariably lengthens a short a after which an has been elided, stands for ardhapanakshetriyasya, in the same sense as the modern Indian an eight-Ânå or half-růpi, owner. These phrases are used to deuote a person who possesses a right to half a share in a property. I assume that Apareņu possessed the field in question, together with an unnamed co-partner, and made over his share of the produce for religious purposes. I intentionally translate sanghu by “the community," and understand thereby the whole Bauddha community of Kalvána, not the ascetics alone. Saingha seems to have in this case the same meaning in which the Jainas invariably used and still use it, viz. the community of the faithful, both las and cleric.
No. 16 (West's No. 16) on the left-hand side-wall outside the verandah of Cave No. XII.
1. S[i]hati] Kiliya[na] .. sa ... nn S[i]vamitasa putasa nega 2. masa Dhama ........ Budhakena saha cha savena pariva. 3. rena lava ().... lu[valnati pânivapodhi Asanapedhika 4. yo piilho a ... cha kamo cha deyadhama châtudie bhikhusache pa5. tithájiita matapitaro ulisa savasatuhitasughatha [1] 6. etha cha akhayanivi cha data [1] 7. eto cha vásárate vasatasa bhikliuno chivarikakahapana solasa pâte 1[0]. 8. sa upahanana cha kahapano utukäle chal padiko mase vasatasa de 9. tavo sesona lona padliagitava [1] Käliyane cha vihåre Gardharikábhami 10. ya 11) ianubhari bhojanachâtusala cha deyadhariima [1] etesi ri akhanivi data Mukudasiva11. yi[vậyatinivesanari: Jeto be bhikû bigablusa bláká châtusalasa vihara dasakani chivari 12. kani chatusula cha [blákal]
1 L. 7. For the last sign, le, the vowel is indistinct. ? L. S. The nú of upalunûna stands below the line.
L. 10. I.e. ul hayd. + L. 11. Possibly yithiyam. Read rikúre.
L 1. The last two signs are indistinct, and one might read chataka chatushka).

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KAXHERI IXSCRIPTIONS.
81
- Success! ... a cave, a water-cistern, benches for sitting on, a chair, a ..... and a flight of stairs (?), have been erected for the community of mouks from the four quarters of the horizon (as) the meritorious gift of the merchant Dharma . . ., the son of Sivamitra ........ an inhabitant of Kalyaņa (he being associated with)..... Buddhaka and with his whole family, in honour of his parents, and for the welfare and happiness of all living beings. And a permanent endowment has been given there. And out of the interest of) that, sixteen kárshápaņas are to be given to defray the expense) for clothes to the ascetic who resides (in the cave) during the rainy season, some trifle for (is) almsbowl, and one kárshápana for (his) shoes, and in the season (the value) of one kárshápana a month to him who dwells (there). With the remainder the cave is to be kept in repair. And in the monastery at Kalyâņa, in the Gandhårikå-bhamî, a (house) with two apartments and a quadrangular dining-hall (hare been built as) a meritorious gift. A perpetual endowment has been given for these also (riz.), a dwelling-house in the Jukudusi vayici. Out of the rent of) that two shares (are to be spent) on the house with two apartments, (three) shares on the quadrangular hall, ten (shares) are (to be given to the ascetics) in the monastery for clothes, and one share (to those) in the quadrangular ball."
The exact meaning of utukále padiko máse vasatasu dátaro is not quite clear to me. Possibly food of the value of one kúrshapana is meant. Padiagitara is the fut. part. pass. of a denominative, derived from Sanskrit pratyanga, Pali pachchanga. Gandhárikathami is apparently the name of a ward or street of Kalyana (Kalliene in the Konkana), and bhami is probably derived from the Sanskrit bhrami, "circle, arrangement of troops in a circle," &c. In the present day the Anglo-Indian cquivalent would be "the Kúbali Bazár." Jukudusivayirâ or yithe is, of course, likewise the name of a ward of the town. No numeral is appended to the second tháki (Thágah); hence the plural has to be taken in its original sense of "three." The total of the shares amounts to sixteen, and this shows that the now usual division according to Âņa-shares (16 Âņas=1 Rûpî) is exceedingly old.
The alphabet of the inscription is of the Andhra type, of the times of Gotamiputa Siri-Yana-Så takanni.
After data (1. 6) a large blank space of one and a half lines has been left. Probally it was intended to insert the nature of the first-mentioned perpetual endowment.
No. 17 (West's No. 17) on the left-hand side-wall of the porch of Cave No. XIX.
1. Sidhar acharia[na] Whayatâta[râna) bhâtuno pavajitasa Ânadasa 2. lena deyadhamam saghe [] akhayanivi dina [1] eto chivarikat data
3. va chhaka , hari saha savehi natihi [1] --"Success! A cuve, the meritorious gift of the ascetic Ananda (Anada), the brother of the teacher, the reverend (Antara?), for the community of ascetics. A permanent endowment has been given. Out of the interest of that the expense) for clothes is to be given to (the ascetics). (The giver is associated with all his blood-relations."
Letters, Andhra type, about the time of Gotamiputa Siri- Yana-Satakanņi. The name of the reverend teacher has been given according to Dr. West's copy. No. 18 (West's No. 18) on the inner wall of the verandal of Cave No. XXIX. --
1. Sidhan Kalianakasa negamasa Golanakaputasa negamasa Isipilasa 2. saparivarasa matapitunati

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ARCH.EOLOGICAL SURVEY OF WESTERN INDIA.
3. puyatha lena podhi cha deyadham4. ma akhayanivi cha dinâ game 5. Saphầusu kheta thapati [i] eto 6. cha vasa-uthasa chivarika birasaka 7. gimhásu padiko mase sesena
8. matape pavâde cha padiagitava [1] ---"Success! A cave and a cistern, the meritorious gifts of the merchant Rishipala (Isipala) (who is associated) with his family, the son of the merchant Golanaka, an inhabitant of Kalya ņa, in honour of his parents.-A perpetual endowment has been given (viz.) a field in the village of Saphâu . . . . And out of the rent of) that a piece of twelve (shall be given to the ascetic) who keeps the vasso (to defray the expense) for clothes, in the hot season the value of one kárshậpana (each) month; with the remainder the minor repairs shall be done in the Mandapa and the Pravada."
Alphabet, Andhra type of, or shortly after the time of Gotamiputa Siri-Yaña-Satakaṁņi. -The feminine plural gimhâsu, i.e., grishmásu, probably caused by the analogy of varshásu, is unusual. Matapa, i.e., mandapa, seems to denote the cave. Paváda, i.e., S. pravádu or prabula, "a young sprout, or a coral," must have here a technical meaning. A line of small letters, incised under the first ten aksharas of line 1, which seems to bave been a postscript, is illegible in the facsimiles.
No. 19 (West's No. 20) outside the verandah of Cave No. XXXVI. -
1. Sadha ra . Madhariputasa Svâmi-Sakase2. (nasa ..... ...... [di]ya 10 etâyi (1) 3.................. vathaveya Vemhunadiputra4. [sa] ....... sa bhajaya Hålanikâ le5. (na patithâpita sajha ayyakena Lâ . . . sa ..... 6. .......... Dhậmaye ..........
7. .... Buddhakayena sahâ vi .... This inscription, which is found in the same cave as No. 14, apparently records the gift of the second room attached to the larger one, by the wife of the donor mentioned in the preceding inscription, the son of Venhunandi or Viskņunandin. It seems to have been incised on the same day as No. 14, as the remaining letters show that the king was the same Madhariputa Sakasena. Though Dr. West has Sara, I think the last three signs of line 1 of the facsimile point to Sakase. In line 3, Dr. West has rathavesa; the correct reading is probably rathavasa, "an inhabitant" of Kalyana), as in No. 14.
No. 20 (West's No. 23) on the back wall of the open gallery No. XXXIX. --
[Sidharia Sopjárayakasa manikarasa Nagapálitasa saparivarasa lena deyadhama [1] _“Success! A cave, the meritorious gift of Nâgapalita, a jeweller from Sorpâraka (who is associated) with his family."
For the form Sopůrayakasa compare Nânaghât, inscription No. IX. The transcript has been made with the help of Dr. West's facsimile. Alphabet, Andhra type, about the time of Puļumáyi.

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KANHERI INSCRIPTIONS.
No. 21 (West's No. 24) over a tank near the entrance of Cave No. XLIII.
1. Sidha therana bhayamta-Ghos[a]na atevâsiniye 2. pavaitikâa P[o]nakiasanaa theriya lena
3. ... pâniyapodhi cha deyadhama saha bhagi
4. niya saha cha... samanapapaakehi châtu
5. dise bhikhusaghe patithâpitâ mâ[tâpitaro udi]
6. sa [] akhaya nivi cha saghasa dinâ kâhâpana satâni be [1]
7. eto chiarika solasaka padiko mâse cha utukâle sava8. [o]kahitaghat
(1)
"Success! A cave . . . and a water-cistern, have been excavated for the community of ascetics from the four quarters, as the meritorious gift of the female ascetic, the theri Ponakiasanâ, the pupil of the thera, the reverend Ghosha, (she being associated) with (her) sister, and with. . . . the Samanapapaakas, for the benefit of her parents. And a perpetual endowment has been given to the community (of monks, viz.), two hundred kárshápanas. Out of (the interest of) that a piece of sixteen' (shall be given) for clothes, and the value of one kúrshapana (each) month in the season- -(the grant has been made) for the welfare and happiness of the whole world."
I am unable to determine the meaning of the compound samayapapaakehi, though the first part is clearly śramana. Possibly it may be a mistake for samanopâsakehi, "with the monks and laymen." Alphabet, Andhra type, of the time of Gotamiputa SiriYaña-Satakamani.
83
No. 22 (West's No. 25) on the left-hand side-wall outside the verandah of Cave No. XLVIII.
1.... thonaka[na] [therâ]na[bha]yata-Hâ[la]kana ma
2... tisa Kanhasa deyadhamam lenam p[o]dh[i] k[o]dhi [cha]
3. [pa]tiṭhâpita [1] akhaya nivi cha dinâ kâhâpanâņa....
4.
5. [ka
satâ sa[ghe] eto cha bhikhusaghe chevarika dâtava bârasa] sa savalokahitasukhaya ti [||]
a cave, a cistern, and a hall have been excavated, as the meritorious gift of Kanha (Krishna). . . . . of the thera the reverend Hâlaka. And a perpetual endowment (viz.). . . . hundreds of karshapanas has been given. Out of (the interest of) that 'a piece of twelve' shall be given to the community of ascetics for clothes.
for
the welfare and happiness of all people."
Probably the first two lines have to be restored, as follows: [Sidham Kali] ayakú[ya] [there] [hayata Hulakiya anterissa Kanhasa, &c.
The importance of the inscription consists in the name Kapha, Krishna, which furnishes another proof for the worship of Krishna in the Konkan, and in the form chevarika (Sanskrit, claivarika), which proves more clearly than the usual chinarika that "for clothes," not "cloth," is the meaning of the word. Alphabet as in the preceding inscription.
No. 23 (West's No. 31) on the inner wall of the verandah of Cave No. LVIII.
1. Sidham theṛânam bhayata-Mitabhûtinam 2 lenam sagarapaluganânam deyadhamam []
-"Success! The cave of the thera, the reverend Mitrabhûti, the meritorious gift of the Sagarapaloganas (1)."
1 See vol. iv, p. 68.
2 See vol. iv, p. 9.

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ARCHEOLOGICAL SURVEY OF WESTERN INDIA.
Dr. West's copy shows only wain in the difficult word sågarapalogandna, while the unpublished one has above the line na and below the line na and an anusvára above the line. It is possible that the mason wished to remove the nd and to substitute we. If that is the case, and the whole has to be read sågarapaloganam, the latter might be taken as a genitive plural, and the whole be translated "of the people who protect the ocean," i.e. either "of a community of traders by sea," or "of an admiralty-board." The reading sågarapalogandna would be equivalent to Sanskrit for adgarapralokanand "of those looking after the ocean." Alphabet, Andhra type of Pulumâyi's time or a little later. The shows the form which is constantly used in the Kuda inscriptions.
84
No. 24 (West's No. 32), in a recess over the tank in Cave No. LIX.1
1. [Sidhari Kalijanikaya Bhoïgiyâ A
2. [parâmitikaya Dâmilâya lenari
3. [po]dhi cha Kaphasele deyadhamari [||]
"Success! A cave and a cistern on the hill of Krishna, the meritorious gift of Damila, Bhojiki of the Konkan (Aparanta), an inhabitant of Kalyana.
This inscription has been restored according to Dr. Stevenson's transcript, whose Pandit, as Dr. West states, destroyed the beginning of the lines. The epithets Bloigiya, Aparántikaya, of course, mean that the husband of Dâmilâ was Bhojaka, i.e. the ruler, of the Konkan. Alphabet, Andhra type, earlier than the inscriptions of Gotamiputa Sâtakamni I.
No. 25 (West's No. 33), on the inner wall of the verandah of Cave No. LIX.1. Sidham Kaliyinikiya bhikhuniya Dâmilaya lena deyadhamam 2. podhi cha []
"Success! A cave and a cistern, the meritorious gift of the female ascetic Dâmilâ, an inhabitant of Kalyana."
It would seem that the small letters podhi cha in the second line are intended as a correction, and to be inserted after lena as the sense requires. Alphabet, Andhra type, of the time of Pulumayi.
No. 26 (West's No. 35), on the left-hand side-wall outside the verandah of Cave No. LXVIII.
1.
2.
3.
4. [deyathama [châtuliso bhikharaghe pati
5. thâpitam mâtâpitaro udisa savasatâna
6. hitasukhatha apano cha nivânasabharatha [] etasa cha akhayanivi di[nâ ||]
pâlâ[nam] [amtevâ] sisa [m]itanakasa parajitasa
nayasa
lena (?)... pânîya-podhi cha
-"By the pupil of. . . . .. pâla, the ascetic. . mitanaka, a cave (?) and . . . a water-cistern have been excavated for the community of ascetics from the four quarters of the horizon; for the benefit of (his) parents, for the welfare of all living beings, and for the fulfilment of the hope of final liberation for himself. And a perpetual endowment has been given by him."
Alphabet, Andhra type, about the time of Pulumayi.-Niedyabharatha would be in Sanskrit nirvydáźicharazdrthum, but the idiom is Gujarati or Marathi.
1 See Arch. Report, vol. iv, p. 69.
"U

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KAXHERI LXSCRIPTIOXS.
No. 27 (West's No. 37), on the left-hand side-wall, outside the verandah of Cave No. LXX.
1.................... leņam pûniyya[rodhi cha) ... 2................... na Bhadrajani janar pratigrahe ( 11 etta punarii
......... mậtua cha Nandinika Whâjâya ghariniya Dåmi1. laya] ...... ya ekka ovarako deyyadharmma etto cha punabhago puttana je5. . . . . . bhâtuputrasya cha Aryyaghoshasya dhutua cha Sanghadevanikaya 6. .... natukanat nätiņam panatukaņam panatinati Sunbánatis savvaseva kulasya 7. [a]titânari tthitanari anagatanani cha sürvvasatvanali cha hitasukhartthaya bhavatu tti [!]
--"............. a cave and a water cistern for the acceptance of the... ... Bhadrayanîyas. The merit (gained) thereby (shall belong) to ......... and to (my) mother Nandinika. One cell (is) the meritorious gift of (my) wife (and) lady Då mila. A share of the merit (gained) thereby (shall belony) to (my) sous Je....., to (my) nephew Aryaghosha, and to (my) daughter Sanghadevanikå ... to (my) grandsons, grand-daughters, great-grandsons, great-grand-daughters, and daughters-in-law, and to (my) whole race, the deceased, the living, and the unborn; may it be for the welfare and happiness of all living beings."
I am unable to make out the whole of the postscript, which narrates how a perpetual endowment of 1600 kârshấpanas was given, and contains details into whose hands it was placed, and for whose benefit the interest was to be expended. The portion transcribed is interesting on account of its language, which presents a most remarkable mixture of Sanskrit and Prakrit forms, and for the occurrence of the name of the Bhadrayaņiya school, which is frequently mentioned in the Násik inscriptions. The alphabet shows the Andhra type, with an admixture of younger forms, c.9., in pa and sa.
No. 28 (West's No. 39), on the right-hand side-wall outside the verandah of Cave No. LXXVI.--
1. Sidha[1] upasakasa Dheņukákat[i]yasa [Kulapiyasa] 2. Dhamanakasa dh[utuya pavaitik[@]ya Så påya the] 3. rå na bhadata-Dodhikina återåsini ya 4. lena deyadhama p[@]niyapodhi cha saha bhagi[niya) 5. Ratinikâya saha cha savena nätisa badhivage] 6. na cha tudis[e] bhikhusagh(e) athasu puris esu] 7. lesu (7) patithâpita mâtupitara udisa sava satana] 8. hitasughatha[1] Whikhusaghasa aklayanivi cha dina eto cha [bhikhu)
9. sagh[alna chivarika dåtava solasaka utukåle cha ... -"Success! By the female ascetic Så på (Sarpa), the daughter of the lay-worshipper and inhabitant of Dheņukakata, Kulapiya (Kulapriya) Dhamaņaka (Dharma), (und) the pupil of the Thera, the reverend Bodhika (she being associated with her sister Ratinikâ and with the whole number of her relations and connections, a cave and a watercistern have been excavated (as) a meritorious gift, for the community of ascetics from the four quarters of the horizon (ciz.) for eight persons (?)...-for the benefit of her parents and for the welfare and happiness of all living beings. And a permanent endowment has
1 L. 2. Read
tto.
. L. 6. Read natirai.
* L. 7. Read andgutunav.

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ARCH.EOLOGICAL SURVEY OF WESTERN INDIA.
been given to the community of ascetics; and out of the interest of that (a piece of) sixteen shall be given to the community of ascetics for clothes, and in the season. ..."
Dhenukakata is doubtless the same place which is frequently mentioned in the Kårle inscriptions and elsewhere. It is most probably different from Dhanakataka or Dhañakataka, the Andhra capital, in the south-east. Etymologically the name means "the residence of Dhenuka," and the word looks like a synonym of Dhenukaśrama, or Dhenuka, which is mentioned in the Mahabharata. The alphabet shows the Andhra type of the times of Gotamiputa Siri-Yaña Satakamni II.
No. 29 (West's No. 40), on the right-hand side-wall outside the verandah of Cave No. LXXVII. -
1... sa ...... ipula ........ sava .. ma 2. .. sa dasamiya etá[va) puvâya mahara[ja]balikâya mashabhoji]ya 3. ba[lika ya maharathiniya Khaanagasdlaka-matuya maha[bho]jasa [Ahi)4. (jasa) cha Dhenasenasa?) bhaginiya Nagamulani[kálya lena deyadhama 5. ........ bhikusaghe patithâpita(m) mástup]i[ta]rå (udi]sa kâ . ena a ...
...... on the tenth (lunar day). On the above (date) Nâgamulanikå (Någamůla), daughter of the great king and daughter of the Mahâbhoji, wife of the Jahârathi, mother of Khandanagasåtaka (Skandanagasåtaka), and sister of the Mahâbhoja Ahija (?) Dhenasena (Dhanasena?) excavated a cave (as) a meritorious gift for the community of the ascetics . . . for the benefit of her parents ....."
Letters, Andhra. Both ta and na have a loop, and are for that reason not to be distinguished; na has the later form, which occurs also on the Jagayyapetta inscriptions. As, however, ani, a pu, and a la, or rather traces of these letters, are faintly visible in the first line before the first break, it is not impossible that the inscription was dated according to the regnal years of Siri-Puļumáyi.
No. 30 (West's No. 53), on a detached rock between Caves No. XIV. and XV.
Kaliya[na]to Nadasa kama rasa patho de
yalhama [1] _"Success! A path, the meritorious gift of Nanda (Nada), a blacksmith from Kalyâņa."
This inscription seems to be one of the oldest found at Kanheri, for the letter da has the old form and opens towards the left.
Postscript. The word Anadamatu-Kaņheri No. 44, West (Burgess, No. 15), 1. 5affords a certain instance in which the genitive mátu is used in the sense of the instrumental. It is, therefore, not necessary to change, as proposed above, Vedisirimátu (Nânâghát I. p. 61) to Vedisirimátuya. As regards the word bhariya (Ibidem), which evidently has the sense of Whuriyâya, it may also be a vicarious form for the latter instead of a misspelling, for the Kanheri and other old Prakrit inscriptions repeatedly show a instead of ya as the termination of the third case. It is, therefore, imaginable that this a may have coalesced with

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DASA AVATARA INSCRIPTION.
87
the preceding long vowel, and that thus driyd (loc. cit.) may be really intended for an instrumental case.
No. 31.
On the architrave of Cave X.-the Darbâr Cave is an inscription in eight lines from 11 to 11 feet long, with two additional ones of 5 feet long, but very indistinctly engraved. The opening sentences have been translated by Paudit Bhagwânlâl Indraji. It is dated in the Saka Samvat 775 in the reign of the Rashtrakuta king Amog havarsha Jagattunga, and of his feudatory Kapardi, the Silähâra, chief of the Konkan.
✔No. 32.
On the architrave of the small cave No. LXXVIII., just opposite to the Darbar Cave, is a similar inscription (West's No. 43) dated in Saka 799 during the reign of the same two kings.
In Cave LXVI. are three Pahlavi inscriptions, one on the left side of the recess of the water cistern in the right side of the court, and consists of thirteen lines; the other two are on the pilasters of the verandah, and are also written vertically. Dr. E. W. West also discovered two fragments of similar inscriptions at the structural stúpa or digaba which he examined. These inscriptions have been translated by Dr. West, and consist of lists of names, two companies of Pârsis who visited the place: the first having engraved two of the inscriptions on 10th October and 24th November 1009 A.D., and the second perhaps also two-the one dated 30th October 1021 A.D. The fifth fragment is too small and indistinct to yield any information.
The copperplate inscription found by Dr. Bird at Kanheri has also been published elsewhere.5
III. DASA AVATARA INSCRIPTION AT ELURA.
On the west side of the mandapa in front of the Dasa Avatâra cave temple at Elurâ is a long inscription in fourteen lines in Devanagart characters, of the forms used in the first half of the eighth century; but they are faintly cat and much chipped, few of the letters being uninjured, and long portions of many of the lines quite illegible. Pandit Bhagwanlal Indraji studied it carefully on the spot, and made a transcript of all the letters he could make out, of which the following is a transliteration. It is in Sanskrit verse, and contains 29 slokas in different metres.
Transcript.
(1.) Om namah Sivâya | Arddhakrishte garishthe dhanushi sisutaya jânulagnam kumaram vâmârddhena panetum jhatiti vighatite gadhabandhepi mushṭau yâtaḥ pâyâ.... (1.)....
sannâdapi[dahati pure?] . .
1 See Care Temples, p. 355. This inscription is Dr. West's No. 15.
Jour. Bom. B. R. As. Soc., vol. xiii, p. 11; and Cave-Temple Inscriptions, p. 61.
3 Jour. Bom. Br. R. A. Soc., vol. vi, pp. 116 ff.
+ Published in the separate memoranda of the Archæological Survey of Western India, No. X-CareTemple Inscriptions, pp. 62-66; and Ind. Ant., vol. ix, pp 265-268.
5 Cave Temple Inscriptions, pp. 57-60.

Page #125

IRCILEOLOGICAL SURVEY OF WESTERN INDIA.
(2.) lazantushtà viyuktånayî setyetyuktavati harami rahasi vah râvânnagendratmaja (2) [svallankritam
yatna ...... pi nirmalar parena jâpyanalinî karotsalam prakrishtamäksishta ........... ............. pavobindurivayudhankarah(3) sthirâtmakah (sadguna) ................ ............ ka ... sya ... nâmi sajano ...... (1) .....................
(3.) ve kirttitah kshitibhujah kavibluih vurinah tâneva sarismarati retralhunâpi lokastasyanvayasya kaviresha
tanoti kirtim (5) samagrajayatîtalavikulapalanaikochitarn pra[kâmachaturârnavapramathanajjitaḥ Sripatiri na vetti khalu kah kshitai prakațarashtrakůțânvayam (6) ..................... tapatha ......... dlhairyavantah karttáraḥ prarthitárthaḥ pranayijana ....................
(4.) pra[thita prithuchamûvikramânâmariņân bharktarah kaunjarinâmn samadakatatataslághininâm ghatanam (7)
1 tasmim dugdhâmbu[vichi yuftijdhavalavašascandrikodbhasitaso roshichakrasya .............. • ranadalhanmattamatargagâmi stâmî vannasramânamn prasamitasakalavyåpadanandada[na] ...... Whâsva .................. tapaan vidvishan Dantivarmmå (8) sudustyajâ yena satapi
bhùbhrità sa ....................... tra vivekina charya (5.) masajjanaya yam daválunk sajjanarşittasálina (9) Alekhyárpitamurttayah svabhavaneshradyapi yasya
dvishah pasvantah kimu yuddhamuddhatarusha chitrastha mina]ntanoh tannanasmaranâgata ...... ...... matvanyopi nashtasriyah' prekshyante pathikaiḥ śuchera vividhåstenaira nirmûlitaḥ (10) tasyatinaja .............. devaraja ........... kamalah kamalayatâkshah kshunnári
paksharaniti nayanântavântatorânvitakshitimarakshayadindrarajah (11) yasminkshoni (6.) makhan lami kritabhayasunatâm rakshati kshunnadushțe sampannaiḥ sûrudhasishtaih pravarakritayu[ga ?
kshmâ patinyayayuktvî vajšai .......... [Wakta]h . . . . . . . . vibudhânijire .......... kaschinnibhûtsitsukan kalikalushamatirnnaiva nappalpavittah (12) vikasi yasya kshanadásravikshatari sasankachamavyapade[sakalii karo[ti) sampratyapi nirmmalari jagatprasannadigmandalamnanılanarin yasal
(13) durvvârodarachakrah prithutarakatakah kshmablıridunmülanena khyatah sath khankapaņi (7.) rblalivijayamthavikramâváptalakshmih kshonibhåravatari vishamamahipatestasya sýnurnripobhůt mânyo
Gurindarijo haririva hariņākslijanaprarthaniyah | (14) yasyamalai[h] pranatabhupativachchhalasya råmåhhirâmacharitasya sahasrasarikhyaih anandablirguna atai[b]prassitairddigåntâm vyåptari ja[ga]tkarasatairiva Sitarasmeh (15) tasma ......... janmi ripjanatimirikandachandansu ... ... meshah punyaib
jorajánánh suyatasamakripah kalpavrikshanukårî bhîtîjannarttihari (8.) kulikalushajushå ........... makâri rajasri Karkkarajah khara... ra[khurukshepa ?]niheshitarih
(16) yasyaradhasya naktan niyatanrirajanasthånadânâ yakántari ramyam harmyasya prishtam pravarataramani frenisimghasanarkah våraztriháratáradyutitaralamahâratnarochi sikhabhiḥ kamar dhvastendhakare na sitakarakarai .......... yaih (17) duhprapavámcbhitamanorathasamvidhana nirnâsitartibud
hasarthamanoblitapah yah kalpanádapamapindusitorukirtti (9.) ránandithirguna atairadlarichakara (18) tasyabhůdbhuvanaprakamamalima bhagnârivironnatih kshiptah
kishudrarajah prajaparibhavavyapattivichchhittikrit mâlyaddikkarikumbhabhittivilasatkirttipratittyatar.. ..... lväjiranajiraijitajayah sririndrarajah sutaḥ (19) yo mâchchharyamanârtyakaryavimukhah prochchharyalhairyodaithih dhřitva sajjanavrittamesha suksitaiḥ.. dhîrograbit yasyâuyapi gunaih
Sasanka uchibhirdhain aparat tatsamain bhramyadbhirnna bhavekhile (10.) nusaradanh haritsachchhalenâpyate il (20) varnaśramånasesham tanayastasya Svavartmasuyasitui si
Ilantidurggaraja-sakalamahipalanathobhût (21) yasya harcrira charitati natikrantairna bhavibhiḥ kaiśchit Sakyamanukarttumamalat nararatibhirnnapi sampratikaih (22) dandenaiva jigaya Vallabhabalam yah Sundhubhupalliputi Kanchisu na Kalinga-Kosalapai Srisailadeseávaram beshân Málava Lata Tarikanți
patinanyamscha nitva vasarn yah Sri Vallala (11.) támavara charanam nyasya dvishâm mastake || (23) sauryenâtvasayishta yah prnthanakar tejasvinâ mârutim
tvágenátáumaditajani ramanayninironami guru prajiaya rûpenápratimena manmathamatha sthemna stvarnnáchalat lavanyena sušánkamujralayaśaḥ śubhrikrito (yam] pathah (21) devam .. ..suvaraparikaram bhimasenanurâtari prah vairbhupendravșindaiḥ parivșitamabhayairngraseno jitârih vyapayuddharttunekar prasa bhuparakaridhvamsasanskaradaksho Bibhachchh'urlushtanayo
Read taeminda. + Read wutware.
! Read sriyah. 5 Read protsúrya.
3 Read otsalasya. 6 Read lihatsu

Page #126

!
DASA AVATARA INSCRIPTION.
(12) Jayinamiva para śrimaharaja-Sarvvaḥ || (25) dattan yenojjayinyamapi mripatimahaiananascharyabhūtam nyayyam samchintyadipta yutibaliukanakam ratnamuktavatamisami manikyakiramanyam divasamaviratatriptadinârthisärtha karttui kiidamapurvvâmaparanțipatibhiḥ svapuakálepy anapyam; (26) dhauryai tu prakrishtami sakalavasumatibharadhari[tva]yogyam drishtvaivam slághamiyati raghunaghushanrigeshvapyadrishtam ya.... tsarvvai dvipa hipatyan panamavija[vina]
(13.) mâdaraischâryasaram pitaḥ prâdâtsayasmai mu-hitakalimude ajasinghaya1 vedha (27) yasmadduḥkham dvishamtaḥ sunahad upachitini prapurishta visi-htáschitra chittena vittam chiramabhilashitam yattadevarthisarthaḥ bhrityâssadbhogayogain bhayavidhuradhiyaḥ praninastrasanasani vriddhi dharmmasya vipraḥ sukhamabhiruchitam bandhumitraptavarggah (28) yasyakhanditavikramasya katakenákramya tirakshitim saudhesmimikrita-Gurjjarendraruchite ramye ..taistasthushal snántibhi..... tâйgaragasurabhi
(14.) protkampipadmakaram dhâritṛishvapi pushkareshvapi... nabhis hitam (29) yasyastodayasailasânuvanajeshûtkampikarnotpala[b] sârddhama kamijanairlavaigasumanogandhandhaniktalishu vyakirṇeshu
latagriheshvaviralaḥ karppurarenûtkarai.
This fragmentary inscription is interesting, as it gives us two earlier kings of the great Rashtrakuta dynasty than are mentioned in the copperplates, viz., Duntivarma and Indraraja, who must have reigned about the beginning of the seventh century. It then continues the dynasty list with the usual names of Govinda I., Karka, Indra, and Dantidurga, the latter of whom is described as placing his feet on the necks of his enemies, and made the Vallabharaja (that is, the Western Chalukya king, Kirttivarma II.) his tributary, besides subjugating many other kings, whence he took the title of Sri-Vallabha. There is mention made of a Maharaja Sarva, perhaps the brother or first minister of the king, who is also praised. The last two verses apparently describe him as coming with an army and staying at this temple. A Gurjara rája is also mentioned.
This Dantidurga, we know from other inscriptions, must have ruled about A.D. 725-755, and it is probable that the visit to Elurà mentioned in this inscription was connected with the dedication of the Kailasa temple or of the Dâsa Avatâra one. Of his uncle and successor Krishna I., we are told that he established himself at a hill named Elàpura, where there was a famous temple of Svayambu-Siva: this place has not been identified, but may possibly have been on the hill above the Elurâ caves, on which, beyond the modern town of Rozah, are the remains of an old Hindu city.
1 Read *simhaya.
See Reports, vol. iii, pp. 31 ff; Ind. Ant., vol. v, p. 144 f.; vol. vi, p. 59-72; vol. i, pp. 205 : vol. vii, p. 210; and vol. xi, p. 108.
END OF VOL. V.
BALLANTYNE, HANSON AND CO, EDINBURGH AND LONDON

Page #127

RGY
30.
IRARY
CASA.
19
-
-

Page #128

PLATE XIII.
ELURA.-BUDDHIST CAVES.
TEN
293
w
-
I
SEN
W
ATTEETT
62
4
-
.
1. TARA IN CAVE .
2 TARÀ IN CAVE VI.
Scrie
3. PILASTER IN CAVE V.
feat
DES
BE
22
".
.
he
4. ON THE RIGHT SIDE OF THE SHRINE IN CAVE VI
KE
27
6. BODHISATTVA IN CAVE IX,
5. ON THE LEFT SIDE OF THE SHRINE CAVE VI.
7. Burgess,

Page #129


Page #130

7
+
179
J. Burgess.
VIII.
r.
TOT
Cal
Bly
ELURA.
1.
D
I
$7
1. BAUDHHA
Π
2. TIN THAL-2ND. STOREY.
LL
CAVES NOS. VII & VIII.
PLATE XIV.
Precon
H. Cousens, del.

Page #131


Page #132

PLATE XV.
ELURA.
DON THAL SECOND FLOOR.
pili
.
FIRST FLOOR
11. 01 03
DON THAL. GROUND PLAN.
7 Burgess.
H. Cousens, del.

Page #133

A

Page #134

PLATE XVI.
ELURA BAUDDHA CAVES.
1
SI
ti
.
Scale of
-
a
30 Feet
1. TRANSVERSE SECTION OF VISVAKARMA CAVE.
2. PADMAPANI IN CAVE IV.
la
VA
BR
Kod
M
>
* AM
3. SARASVATI IN CAVE VI.
4. PILLAR IN CAVE IX. ' Scale of
Pro 7. Burgess.
5. PILLAR IN UPPER FLOOR OF DON THAL.
f eet.

Page #135


Page #136

.
PLATE XVII.
ELURA.
DETAILS FROM VISWAKARMA CAVE.
REGLUR
A
040
Y
.
1. SCULPTURE ON THE INNER SIDE OF THE GALLERY.
1.1
2. PART OF THE TRIFORIUM.
**
--
1.
OSTAT
7. Burgess.
3. SCULPTURES FROM THE DAGOBA
Scale of Scale of best
!
!
2
3
4
5
6
7
8
9
10 feet

Page #137


Page #138

PLATE XVIII.
ELURA BUDDHIST CAVES.
4249349997, Boijenopazos
poar caini gan
1. INSCRIPTION ON THE VIŠVAKARMA CAVE.
feet
Us
9
YYY
8
3. SCULPTURE IN THE TIN THAL CAVE.
-
.
Se
ar
AT
Scale of
SA
2. PILLAR UNDER THE GALLERY.
IN VISVAKARMA CAVE.
4. BUDDHA AND ATTENDANTS:-BAGH CAVES
7. Burgess.

Page #139


Page #140

PLATE XIX.
ELURA
BE
FIG. 1.
315
I.
196,
147
Tante
>
FEMALE HEADS FROM VIŠVAKARMA CAVE,
5. SCULPTURE TO THE LEFT OF THE SHRINE DOOR IN THE TIN THAL, UPPER STOREY.
EN
I
U
.
>
6. PANEL IN TIN THAL.
3 HEAD OF AVALOKITESVARA
FROM VIŠVAKARMA CAVE.
Scale
4, VAJRAPAN FROM VIŠVAKARMA CAVE.
Scale to figs 5 & 6.
7. Burgess.

Page #141


Page #142

FIG. 1.
FIG. 2.
J. Burges.
ELURA
BODHISATTVAS ON THE RIGHT SIDE OF THE SHRINE IN THE TIN THAL.
TALL
BODHISATTVAS FROM THE BAGH CAVES.
FIG 3.
PLATE XX.
W. Griggs, Photo-lith.

Page #143


Page #144

PLATE XXI.
ELURA BRAHMANICAL CAVES.
.
SR
3. ŚIVA IN THE FLAMING LINGA.
1. PILLAR IN DAS AVATARA.
.
.
.
.
ROSE
."
.
a
.
RE
kub
2. SHAFT OF PILASTER.
4. ŚIVA DANCING THE TANDAVA IN THE DAS AVATARA.
Scale of t
4
8
9
10
feet
he
7. Burgess.
H. Courens dal.

Page #145


Page #146

16
A
J. Burgess.
Scale of 12
ELURA.
1. NARASIMHA & HIRANYAKASIPU IN THE DAS AVATARA:
2. BHAIRAVA IN THE DAS AVATARA.
L
5
6
10
PLATE XXII.
feet.
W. Griggs, Photo-lith.

Page #147


Page #148

:
J. burn.
1. TRANSVERSE
ELUR
2. SECTION OF THE D
ARA CAVE
M. G del.
PLATE XXIII.
RAAMID
4. M. bun, del

Page #149


Page #150


Page #151

PLATE XXIV.
ELURA BRAHMANICAL CAVES.
uha
..
.
.
d
14
1
V
.
K
.
YA
1 SIVA RESCUING MARKANDEYA-FROM THE DAS AVATARA
Scale or
2. SIVA RESCUING MARKANDEYA-FROM KAILASA. feet
H. Cousers, del.
J. Burgris.

Page #152


Page #153

PLATE XXV.
ELURA CAVE TEMPLES.
..
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GO
HIT
-
.
-- TO
-
1
--
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neuf de website
--
-
-
HIRT --
S
ES
2 ON THE EAST SIDE OF THE SOUTH PORCH.
IN KAILASA.
1, DOOR IN THE THIRD STOREY IN SOUTH SIDE OF THE COURT
IN KAILASA
de
temperatura de teatro de mesa in questo
negati
27
*
5
.
R!!
3. ON THE WEST SIDE OF THE SOUTH PORCH.
IN KAILASA.
4. IN CAVE XXIV.
5 IN CAVE XXII
9. Burgess.

Page #154


Page #155

PLATE XXVI.
ELURA.-KAILASA.
13
FIG. 3.
.
1. SCULPTURE ON THE FRONT OF THE MANDAPA.
SEN
3121
LIONS ON THE ROOF OF THE MANDAPA.
4
.
ANA
HIC. 4
WA
..
.
11
99
1.
e
..
S
www
A
P
ert
2. KAMADEVA AND RATI.
Feet
Scale to figs 1 & 2.
J. Burgess.
H. Cousens, del.

Page #156

售后:

Page #157

J. Burgess.
FIG. 1.
AURANGABA
LIBRARY
Scan of
CEPT. OF
ARCHAEOLO
ELURA.
SCULPTURES FROM THE NORTH CORRIDOR IN THE COURT OF KAILASA.
FIG. 2.
b
7 feet
FIG. 3.
PLATE XXVII
S. J. Pachreu, delt..

Page #158


Page #159

ELURA.-KAILASA: COLUMNS
PLATE XXVIII.
FIG
1.
WS
WHOLESA LE
GALI
AURA
om
FIG
2
FIG
3
'
.
SKS
12
se
PRESSR3171
OKNA
Pag
C
WASABA
SALON 146A
NE
LITERAT
HOLA WANASEMASTEREDE
of
Scale
7. Burgess.
ELURA --KAILAS A COLMNS.
H. Consens, del.
...PLATE XXVIII

Page #160


Page #161

PLATE XXIX.
ELURA.KAILASA.
30
the producten
y , wenye ajali
mwanaman
with 20
-
TEMATYROROW
E
this
SIL
VARAHA ON THE BACK WALL.
11. Consens del.
PILIAR IN THE CENTRAL AREA OF LANKESVARA
2. IN THE FRONT AISLE OF LANKESVARA.
!

Page #162


Page #163

PLATE XXX.
ELURA BRAHMANICAL CAVES.
1. SÚRYA IN LANKEŚVARA.
2. UMA IN LANKESVARA.
.
.
?
:
.
...
.
:
.
..
:
19
:
S:
P
INTEREST
i Cousers.
3. BRAHMA, SIVA, AND VISHNU IN LANKEŚVARA.
Scale of 12
10
feet.
7. Burgess,

Page #164


Page #165

PLATE XXXI.
ELURA:-KAILASA ROCK-TEMPLE.
2. ANOTHER PANEL ON THE SOUTH SIDE OF THE SHRINE.
1. PANEL ON THE SOUTH SIDE OF THE SHRINE IN KAILASA.
3. ON THE SOUTH SIDE OF THE BASEMENT OF THE NANDI MANDAPA.
an
NE
ST
#
R
seals a Twமப்
7. Burgers.

Page #166


Page #167

PLATE XXI.
ELURA
CAVE XVII.
Fra 1
2. CAVE XIX.
PLAN OF CAVE xvili.
25
.3 PLAN OF CAVE XX.
4
+ CAVE XXII.
•
*
NILKANTH
3 CAVE XXVI.- JANWASA.
RA
7. Burgess.
C. M. Sykes, del

Page #168


Page #169

-
PLATE XXX111.
ELURA.
3. PILLAR IN RAMEŚVARA
1. PILLAR IN CAVE XVII.
OPEL
2. PILLAR IN CAVE XVII.
WWW.190
A
uto
COCOON
PNE
WOODCOM
ootdeugodno
2
Scale of
1
2
3
4
5
6
7
9
10
feet
7. Burgess.
W. Gress, Photo-luth.

Page #170


Page #171

PLATE XXXIV.
ELURA
po
De
SB
LV
M4
VA
y
.
1. SAPTAMATRIS IN RAMËSVARA.
2. END OF THE CHAPEL
2
3 SAPTAMATRIS IN CAVE XXII.
J. Burgess,
Scale of!
1
2
3
4
5
6
7
8
9
10 foet.

Page #172


Page #173

PLATE XXXV.
ELURA BRAHMANICAL CAVES.
COM
48
T
YSK Cara HU
TID ALISASIE 62 61
4
.
.
..
:)
.
1. BRAHMA AT THE END OF THE VERANDAH CAVE XVII.
Soc
3. PLAN OF KUMBARWADA CAVE XXV.
2. PILLAR IN CAVE XXV.
4. PLAN OF CAVE NO. XXVII.
7. Burgess.

Page #174


Page #175

J. Burgess,
1. MARRIAGE OF SIVA AND PARVATI IN DUMAR TENA
trale of vi
ha
ELURA BRAHMANICAL CAVES.
PLATE XXXVI.
2. NORTH-WEST CORNER OF THE SHRINE IN DUMAR LENA
feet.

Page #176


Page #177

PLATE XXXVIL
STEVE
ARMA
.
.
.

Page #178


Page #179

PLATE XXXVIII.
ELURA. PILLARS IN THE INDRA SABHA.
FIG 3. IN THE CENTRAL HALL.
FIG 4. IN THE CENTRAL HALL.
FIG I
DEN
11117117217
+-+- wat
WORZ ETY 337310 TTTT (Iloilla
> >
GETTY (nuca uomo
FIG 2. IN A SMALL CHAPEL.
TYTYTYY
SEGA
HAVE
AS
..
.
Hugs.
C
M
Sykes, url.

Page #180


Page #181

PLATE XXXIX.
ELURA.-PILLARS IN THE UPPER FLOOR OF THE INDRA SABHA.
2. COLUMN IN FRONT OF THE VERANDAH
1. COLUMN BETWEEN THE VERANDAH. HALL.
77
WIGGLS CENT
SAXLANLARI actiti on DDRAW Made in the
RA
3. PILLAR IN THE WEST WING
UPPER FLOOR.
HET
. MAYO
SA
Tilti
S2
4. ON THE OPPOSITE PILASTER
5. Burgess.

Page #182


Page #183

Scan of
L
J. Burgess.
1. ROOF OF THE MANDAPA IN THE COURT OF INDRA SABHA.
Partner
4. PILLAR IN THE LAST JAINA CAVE.
ELURA JAINA CAVES.
to jest
PLATE XL.
2. AMBIKA FROM A CHAPEL OF THE INDRA SABHA,
I
3. PILLAR IN THE JAGANNATH SABHA GROUND FLOOR.

Page #184


Page #185

PLATE XLI.
1. GOMATESVARA, IN INDRA SABHA AT ELURA.
2. GENERAL PLAN OF BADAMI CAVES.
6
Cave
A
13
M
Datacked
Ricca
SIPAS
2
)
3. SIVA DANCING, WEST SIDE OF CAVE : AT BADAMI.
.
vanie
9. Burgess.
Scale of 20
SLEV

Page #186


Page #187

-
FEBREROK
Wecook DRAS MZA AT
P
FENVIDEO
Scale of
E
LAY
ESAT
PLATE ALII.
ATA
5
ye
feet

Page #188

J
4

Page #189

PLATE XLIII.
AIHOLE.-BRAHMANICAL CAVE.
3 VARAHA & PRITHVI. IN THE ANTECHAMBER
1. SIVA AND THE RIVER TRIAD
2. SIVA
3.
.
w
ce
mer
4 MAHISHAMARDINI IN THE ANTECHAMBER,
5. SIVA DANCING THE TANDAVA.
H. Consens, del.
7. Burgess.

Page #190


Page #191

PLATE XLV.
THE CAVE AT LONAD.
1. LEFT PORTION OF THE FRIEZE.
USA
ISA
2 CENTRAL DOOR.
*3. SCULPTURE TO THE RIGHT OF THE FAÇADE
24
-9L...!
TAIGIMO
A.
31
W. Griggs Photo-luth.
7. Brogent

Page #192


Page #193

J. Burgess, del.
PLAN OF CAVE III.
39
PLAN OF CAVE IV.
Find
Putro
Veranda
role of
"andwas
ELEPHANTA.
Cell
PLAN OF CAVE II.
Veranda
C
I
3. LONAD:-KHANDESVARI CAVE.
Tay
:)
PLATE XLVI

Page #194

3
.
Ute
-
-
-
-
..
.

Page #195

PLATE XLVII.
HARISCHANDRAGAD CAVES.
*
FIG. 1
FIG
2.
FIG. 3.
Ann
LAWA
4. PATNA: TRANSVERSE SECTION OF NAGARJUNA: KOTRI.
5. PATNA: HALL DOOR OF ŚRINGAR CHÂVADI.
6. ANKAI DOOR OF JAINA CAVE NO. II, LOWER STOREY.
Suun ja nii
*100
J. Burgess.
Scale of bed
feet

Page #196

一
一一一-
-
-
-
,
in 1

Page #197

PLATE XLVIII.
PATNA CAVES,
9.21
E S
EA
--...
1. SECTION OF SRINGAR CHAVADI.
1.
VELT
.
3, SECTION OF NAGARJUNA KOTRI.
Scale
LL LS
o fret
4. PLAN OF NAGARJUNA KOTRI.
2. PLAN OF SRINGAR CHAVADI.
Sealed
7. Burgess.
Balaji Sitaram, del.

Page #198

2

Page #199

PLATE XLIX.
ANKAI CAVES.
4. PLAN OF JAINA CAVE III.
1. SECTION OF JAINA CAVE NO. II.
B
1
2 PLAN OF UPPER STOREY
5. PLAN OF JAINA CAVE IV.
6. BRAHMANICAL CAVE.
3 PLAN OF GROUND FLOOR OF CAVE II.
JUHT
Scale to fos 4-6.
Jarle of
Scale tu figs 1–3.
Scale of Love
7. Burgess.
H. Consens, del.

Page #200


Page #201

PLATE XLIV.
TESTAR
Opan Court
deck
rock
EASTERN DOOR A OF THE GREAT HALL.
One
y
'
SPRES
scale or
HI
KELUT
LISARY
20
Feet
H. Consens, del.

Page #202

داده بود
و با به ۲۰۰
.
.
. و
ش ادی و . . . .
" :
" هم سفر به ارم نستان

Page #203

PLATE L.
ANKÁI CAVES
. ROOF OF THE JAINA CAVE NO. AT ANKAI.
Scale of 12
:
9
) Feet.
F
-
-
--
--
-
2. FRONT OF THE BRAHMANICAL CAVE NO!
3 FIGURES AT THE ENTRANCE OF NO.1
7. Bages,

Page #204

<
{

Page #205

¿
Ter Cler
Scale of 10
J. Burgess.
Wate
30
40
30
W
60
C
THE BRAHMANICAL AVE OF
Dn
ORG K П C
per Ccur
60
110
ISLAND OF A
20
ONE
130
140

Page #206


Page #207

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Page #208

ORARY
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Page #209
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