GOVERNMENT OF INDIA.

ARCHAEOLOGICAL SURVEY OF INDIA

Central Archaeological Library
NEW DElHI

THE PAINTINGS
IN THE
BUDDHIST CAVE-TEMPLES
0 f
AJANTA
KHANDESH, INDIA
70.H1
BY
JOHN GRIFFITHS
I.Att Pri11dpol of the Sir ]ams/1tdji Jijiblwi School of Art, Bombay : Ftl/ow of tht l/llimsity of Bombay :
Mtmbtr of tht Bomhay Branch of tht Royal Asiatic Soeitty
VOL. II
(Decorative Details)
CAXTON
CAXTON PUBLICATIONS
DELHI
/ 1983
Firsl Indian Prrnt 1983
Puhlislled by
CAXTON PUBUCATIONS
B-3j53, ASIIOK VIHAR,
PHASE 11, llEL.H 1-1100$2.
Prmttd ol
SURINDRA & KAPOOR OFFSET PRlNTERS
1160, AS1 ROIIl AS ="ACAR,
SI I.\III)ARA. DELHI-110032
B01J11d bJ
P. L. BINDERS
4024, Gt\1.1 BANS! COALEWALI.
t\)MER I C:: ,\TE, DELIII -1 10036.

-
..;
.J
Q.)
-.I'
VOL. II.
CONTENTS.
IV. DECORATIVE DETAILS.
Ceiling of Cave I.-General arrangement-Square panels with Persian scenes-Long, and small square
panels-Frets-Two bulls fighting-Ceiling of Cave !I.-Detailed description-Cave VI.-
Ceiling of Cave IX.-Cave XVI I.-Ceiling-Ornament on pillars-Figures of Buddha in Cave
PACE
XIX.-Ceiling-Group of elephantS'-Cave XXI.
41-44
Appendix
45- 46
J:,isf of "?!fates.
VOL. II .
VIH.\RA C.\\ll l.
92 I nli:rior vie\\ of Ca\' C, from an oil-painting by J.G.
93 Plan of ceiling.
94 Luge 59uare panels from ceiling, from a water-colour
drawmg.
95 Do. do.
do.
t;p Long panels from ceiling, from a water-<olour drawing.
w



99
100
101
10:2
103
104
105
Jo6
107
Jo8
109
110
Il l
I I :2
do.
do.
do.
Small square panels from ceiling,
do.
do.
do.
do.
do.
do.
do.
do.
do.
do.
do.
do.
do.
do.
do.
do.
do.
do.
do.
do.
do.
do.
do.
do.
113 Spandrils from central panel of ceiling.
114 Two bulls fighting. from bracket capital.
VrHARA CA\'It n.
115 View through doorway, showing Caves beyond, from an
by j.G.
116 Plan of ccihng.
117 l l;tlf p:l,ltel frnn1 \'.:ramlah c:eiling, from a wah!r-<olour
drawing.
118 Half panels from hall ceiling.from a water-<olourdrawing.
119 do.
do.
120 Panel from ceiling of shrine-<hamber.
1:21 Quarter panel from ceiling of ante-<hamber.
1:22 Long panels from ceiling. from a water-<olour drawing.
123 do. from \'erandah ceiling, do.
124 do. from hall ceiling, do.
125 do. do. do.
126
127
128
129
130
do.
do.
do.
do.
do.
do. do.
do. do.
do. do.
do.
do.
do. do.
133
'34
135
Panels from\'erandah ceiling, fro on a water-<olourdrawing.
Long panels from vernndah ceding.
VIII \RA CA\ E VI.
Plans.
Full-sized details of portion of dress of large figure, left
of sanctuary door, from a water-colour drawing.
do. do.
Plans.
Decorative detail of ceiling. from a watcr-<olovr drawing.
Vm,\RA C.wl! XVI.
View through doorway, showing the promontory by
which the monks descended from the upper country,
from an oi l-painting by ].G.
Vlli.\RA CA\' X\'I L
139 Plan.
140 Panels from ceiling, from a water-<olour drawing.
141 do.
do.
142 do.
do.
143 Decorauve details from ceiling (g), and pillar (b), from
water-<olour drawings.
144 Panels from pillar (i) in hall, from a water-<olourdrawing.
145 do. (j) do. do.
146 do. (k) do. do.
14 7 do. (I) do. do.
148 do. (m) do. do.
149 do. {n) do. do.
Cn\Jr\A C.\\h XIX.
150 Plans wall and ceJitng
151 Paintcll figure of 13uddha, from .1 water-<olour drawing
152 from ceihng in aislt:, llo.
153 A group of elephants, from ceiling in front aisle, from
a wdter-colour drawing.
VJHARA CAvE xxr.
154 Fragments of Figures from \\'.all-painting, from a
water-<olour dra\\ ing.
155 A group of from from a water-
colour urawmg.
156 Plan of ceiling.
157 Half panel from verandah ceiling (A).
158 Portion of verandah ceiling (B).
159 Carved ornament from column in verandah, Cave XXVI.
LIST OF TEXT ILLUSTRA TlONS.

FIG. PAGE rrG. PAt;
i7
Plan of part of ceiling, Ca"c: I. 41 - 83 Frers
43
78
Ceiling of front ai>lc:, Cave.\'1 41
8.t
Frers
43
i9
Ceiling of front aisle. Cac: X\'1 ... 41 ss
Band from column, Cave 1., :\jant1.
43
So Double-frame Aooring .... 4t 86 Bracket capit.tl in Cave I.
43
81 Frets 42 87 From Wall-painting in the "<lhali- Khas, Fathipur Sikri.
44
82 Frets ...
43
88 Carved details from Kailm, Eluri.
44
A
THE
BUDDHIST CAVE- TEMPLES OF AJANTA.
IV.
DECORATIVE DETAILS.
T
HIS volume illustrates the Ornamental Art of the Caves.
which will he found as interesting and instructive as the
Historical Subjects already dealt with in the first volume.
The Buddhist love of variety is very chatacterisdc of all their work, as
.. may he see11 in these Caves. f or example, the twenty columns in the
hall of Cave I, although similar in general effect, ten are different in
dctail'-the difference being obtained by the llutings running vertically
in one and obliquely in another; by the ornament in the bands being
different; and by little dwarfs being used in the corners of the plinths,
while conventional dragons with foliated tails are introduced in
A Greek would have been satisfied with one design repeated twem:y
times. The variety in the design.s of the panels from the ceilings of
Caves I and 11, and the ornamental bands from the columns in Cave
X V 11, appear to be infinite. Look where we will. change Rnd variety
pervade everything, while repetition rarely occurs. The artists' love
of variety and change is carried into the smallest detail. Their work
is full of play and fancy ; they never seem at a loss for ideas. They
pressed the simplest objects of nature intO their service, and converted
them into pleasing and effect.ive omamenL As an example, I would
mention the eoncb shell, which is met with again and again. both carved
and painted; carved as in the terminal angle of the outer cune of the
horseshoe arch of the Chailya caves, and the ornamental dises of the
pilasters ; and painted as in seve.ral panels on ceilings. and in the small
dividing bands of the same. In the it is used singly and
quadrupled within a square.
CEI LING OF THE VIHARA. CAVE I.
The greater part of this ceiling is destroyed, but enough remains to
show the general arrangement (P late 93). With an appearance of
complexity. the design is, in reality, simple. and based on the wood
construction that furnished a model for most of the decorative arrange-
ments at AjantA. An unit of the ceiling, reduced to its elements. is
shown in fig. 77. where a, a, a, a stand for four columns. Between
these are girders, or beams b, b, b, b. The space in the middle is
bridged by smaller joists, c, c, c and d, tl, tl, d, at right angles. The
space is thus divided into panels, which can be varied in shape; and
invite decorative filling. This arrangement is carried out in the painted
ceilings of all the Vilrba or monastery 91ves, excepting in No. XVI,
where circles, in place of square and panels, are introduced. In
some caves the scheme is carved, as in (;ave V I (fig. 78), and in the
aisle of Cave XVJ (fig. 79) This ancient system of Aooring is used at
the present day in a dotlble-framed Boor, with its girders, binders, and
bridging joists (fig. So).
The ceiling having been divided into a number of panels, as described
above, with a circle for variety, in the central division (Plate 93). they
I 1',114 3
were filled with ornament of beauty, showing fertility in
design. delicate colouring, flow of line. and filling or space. in which
naturalism and conventionalism are combined as to produce a pleasing
and harmonious eiTecL And, although every panel has been thought
out, and not a touch in one carelessly given ; yet the whole work bear:s
the impression of having been done with the greatest ease and free

Pi,, 80. Oocua I' a.& MI FtDOI.UIO
plates will testify.
dum-not only of execution, but
al1>0 of thoughL These remarks
01l!>O apply with equal force to the
decorative work in the other cave>.
11.> a reference to the accompanying
PLATE 94.-These three panels-the fourth is destroyed-
represent, to judge from the Persian domestic scenes; and.
from similarity in composidon, are, probably three versions of the .ame
story. (Plate 93. Nos. 4, 20. and 67). In the first (No. 20) a chid
sits crosslegged on a couch, with his wife be>ide him. He has both
a beard and a moustache ; his hair is lnng. and his head-dress is similar
to that worn by Persians, and somt: l'nr.;ees, at the present day. H c i'

THE CAVE-TEAIPLS OF AJANTA.
dressed In a tunic, uimmed with embroidery, reaching half-way to his
knee, and striped stockings. He holds a cup in his left band. On the
floor is a covered uay. Hil wife !a dressed in similar costume, with a
longet" tunic. and a kull-:eap. She is looking up into bil face with a
sweet expression, and, by the action of her right hand, she appean to be
relating something interesting. To his right stands a waiting-maid in
a long robe, which coven her feeL On her head is a skull-cap, from
beneath which Row long black U'eiSeL She is in the act of replenishing
her master's cup. Behind the wife Is a second maid, with a covered
vessel in her band.
In the second version 67) the chief occupies much the same
position. But here be holds the cup in the right hand, a atraigbt sword
in his left. and a richly-worked belt Is round his waisL The embroidery
on his coat Is more pronounced than in tile other picture. He is beard-
less, but has a moustache, and his face Is gross and coane, with' a heavy
jowl. Hil wife, with her right hand-on bil shoulder, looks wiltfully
into his face. The dress and the action of the two maids are nearly
the same u those in the lint version, only the which they hold
are better dnwn. The dress of the aervant on the right !a omamented
with a powdered diaper. A third servant is introduced, seated on the
floor, offering, probably, edibles on a tray.
The third version is further elaborated (No. 4). The chief sill in
much the same poawre as in the other two ; and the lady has. instead
of a cap. a fillet round her head, with an aigrette in fronL She rests
her right hand on the chiers shoulder, and. with her left raised,
expresses by her action great solicitude to please him. Both have, as
well as the maid on the right, bands or ribbons floating from behind
their shoulden1. The maid to the right is here shown to be in froht of
the c:Ouch. She behds forward, and holds with both hands a handsome
bulbous. long-necked vase. Seated on the Boor are two bearded, thick-
lipped servants. who are serving out dishes from the covered uay. The
curtain behind is covered with a floral pattern.
Dr. RajendralAia Miua thinks that the figures are Baktrians ;I but
the streamers at the back of the shoulders show, according to Mr. Fer-
gusson, that they are Persians ; and taking these pictures in connection
with the Embassy picture (Plate s. S), it;. possible that these panels
may represent Khosru 11. and bil beautiful wife Shirin. Mr. Fergusson
says of them that " though all the three paintings at AjantA are c:erWnly
intended to represent the same persons, they can hardly be recognised
by their likeneMCS. The best and finest ;. certainly No. 4 which we
pnobably may assume to be the nearest approach to the Persian original
they (the artists) had to copy. No. 20 is certainly by an inferior artist,
and No. 64 is stiU further removed from the perfection of the firsL In
it Shirin's face and neclc are represented as black. not the black of the
c;,omplexions of other figures in the same cave, but a grey black, as
if tbe artist had using a dark ground, or had employed some pre-
paration of lead which had turned black. The features and dress are
the same as in the other pictures. but it evidently had been entrusted
to an.inferior artist, to copy from the original design.'"
Turning to the other panels of the ceiling. the Larger ones are 6Jied
with a series of designs of great beauty ; some, of the character of
arabesques, compoaed of the lotus flower. both the large and smalL and
fruit of various kinds, combined with birds with foliated tails, and
playful impish-looking little figures;' some are filled with ornament
formed of the head and fore-quarters of the buffalo' and boar.' ter-
minating in conventional foliage ; and others with interlaced nrap
work.'
The smaller panels are omarnented with designs, as varied and
graceful as they are fanciful Some with grotesque little figures, rieh
in humour and quaintly dressc:dl in Persian turbans, coats and striped
stockings;' gambolling amid fruit and Rowers;' dancing. drinking,
playing upon instruments ;to or chattering together :" some with
animals combined with the lotus, drawn with remarkable fidelity and
.,..., ...._ s.. . ....,, X-L vn, PP ee, n
.. .,T&.OL a." .. a.... .. v ... n , PP lY..ttO
'Plate g6, nos. 3 12; pi. 97. n011. 71, 91, 9>6 and !Wf ; pi. 98, nos. 66 and
pi. 99, no. uo ; pi. 100, -,.,._ 4 and S
'Plate96, noa 1 aod 19; pi. 98. no. 94b ; pi. 99, noo. 92 and 97 ; pi. 100,
no. 9-
Plate 97, no. 56.
Plare 98. no. 9S , pi 101, no. 9s-
Plate 104. no. 6o ; pi. 105. DO. 13 ; pi 1o6, no. pi. I OJ. no. 2J ; pi. t oS.
no. 3'-
Plate IOJ, nos J<, 3 and J.l ; pi 104, no. 8 ; pi. 107, no. t6 ; pi. 110. no.
pl 1 11, no 63 ; pi .. t n . no. oof
Plate toS, no. 34 ; pi. 109, nos. 40 and oc ; pl 1 1 1, no. 57 ; pi 112, no. 82.
., Plate 105, no 10<; pi 1o8, no. 33
Plate 102, no. ; pi. to6, noo 16 and l ]i ; pl109o noo. 38 and -49; pi. 110,
no. 51: pi. 11 1 no.
ac:tion; as the elephant, the humped bull,", and the monkeyf' par-
rotJJ,u geese; and eonveptional birds. singly11 and in paira,IB with
foliated cresu, and tails convoluted like heraldic lambre<Juina, ahowing
the upper and under 5Urface of the omamenL Some contain the large
pink lotul\ full -blown, half-blown and in bud, it as well as the smaller
red and white; 10me whh the mango (tlfattpf tra lntirca), custard
apple (Atttmn lfllawrDIII ) ;
8
a round fruit, which may be the IJI/ (.tEfll
marm,/o:) or the lime, 11nothcr that looks like the IJ,,,jal or
aubergine (Sola11um mtiD11fM11),
11
and many others.
The ornament in these panels it painted alternately on a black and
red gTOUnd. The ground colour was first laid all over the panel, and
then the ornament painted solidly upon this in white. 1t was further
developed by thin transparent colours over the white.
The long, narrow panels (No. 39r) are painted with frets of great
variety of deftign,u and the small bands dividing the square panels
(No. 39i) contain a wealth of simple, effective patterns."
Gun
It may be only ,, coincidence, but it i remarkable how frequently the
fret ornament is met with at Ajantll. t7 I .have placed together in figs.
81 to 84 drawingw of frets from Greek. Renaissance, Chinese and
Japanese an. with ""'"e from AjantA. "' as to show at a glance the
similarity in design of this ornament in countries widely separated. See
also Plates t48 and 149- The .... zig-zag. and n'bbon pattern,
frequently occur at AjantA ; and the lotus ornament (shown in fig. Ss)
is likewise seen in the Cra:co- Baktrian sculptures of Candhara; as well
as round the arche in the court-ynrd of the Museo Civico in Bologna.
The migration of ornament would form a subject of study as fascinating
u the migration of fables and symbols.
Plate 102. no. 2c ; pi 104. no. 84 , pl os no. 1 " ' ; pi. to6, no. 11 : pi. 109.
no. -4-2; pl.11 1,no
u Plate Jo6, n'o. 1} ; 1'1 1 " no. p
.. rJate '"4 no. 64
"Plate 104- no 6.1 ; pi 100, no 17.
Plate o.l. no Si , pi toll. nos. JfJ and J5
"Platr 10>, no. ul : pl IOJ. nos. Jlland 3 , pl 105. no. 14 ; pi 109. not. 41"
44 and iS : pi. 110. """ 57t 57 and 57"
"Plote 10 2, no. ; pi. ro., no. U ; pi 105 no. OK; pi 109. no 43.
"Plate 102. not. 11/ and /: pi 109 n ... oJOof, 40-+. oa. 45 and 45rf : pi. 110,
n011- 51. 57< and s1J.
"'Plate 102, nos r and /: pi. 1o6. no. 17.
Pla.te 102, noa. and u : pi. 104 not 8,r and S<: pi. rto. no. 57 A; pi. 1 u ,
nos. 544 and 64-
Plate 104. nos. a. and 61 pi to6, n" 17 and 1;z - pl 1o8 . .-. )(, 331
and J.4<r ; pl 112, n<>o. 63" and 6s-.
Plate IOJ, ....._ J and Jf' , pi 110, nM. 571 571 and 57x
.. 102, no. lt, p1 1e14: 6c and 3,.
Plate 107.
Plate toS. See the beh.ecn JO< and J06, JOlt ; Jl alld 316;
lJ and 33.! ; JS and JSol ; J5t and Jsd. The last shows what an effective
piece of ornament ;, prodll<fi! wit h the conch or shell .
See l'l&tesJ]I, I7 li 8, IS) and sS
DECORATIVE DETAILS.
43
.Pie. st - Pun.
PLATE 114.-The subjeas in all lhe panels of lhe bracket capitals
facing the aisles: except those of the entrance aisle, are painted ;
whereas, those in the panels facing the hall are carved. The artists
appear to have been actuated in this mafr by the principle of decor
ating. by carving, a surface that received light, and by painting when it
was in shade. In one of these panels (fig. 86) is painted an excellent
representation of two bulls, with large humps, fighting (P late II4).
Two bulls. engaged in combat. are also represented in has-relief in a
Viluira cave at Bhdjd. A similar motive, almost in
the same manner as at Ajantd, is shown in fig. 87, from 11 drawing by
Mr. E.\\'. Smith of a painting in lhe MahaliKhas. Fathipur Sikri.
near Agra. This is a singular coincidence, for there is nothing to
suggest that the one was copied from the other. a' there must be, at
least, a thousand )ears bet" een their dates.
In the Louvre are fJ1!-gments of sculpture from a Ooric temple at
Assos in the T road, erected in lhe sth or 6th century e.c. in which are
shown t"o bulls, tngaged in fighting, similar to the painting at
CEILING OF THE VIHARA CAVE 11.
The design of the ceiling of this ca\e, both in the verandah and in
the cave itself, is, as regards its general arrangement imo panels, similar
to that of Cave I ; but the ornament, with which these panels are filled.
is diR'erenL The colour of the verandah ceiling is in a very good state
of preservation, as may be seen from the very panels in
Plates UJ and 131 ; but that of the ceiling in the interior is defaced
by a black, vitreous layer. the result of smoke. A portion of the ground
has fallen oR', exposing the blocking-mot of another design underneath,
with which the artist appear.. to have been dissatisfied, and so covered
it over with another layer of plaster, upon which the present design is
painted.
11
121?12J2121
PLATE 117.-This is half of the central compartment of the
ceiling in the verand;th (Plate n6, 1). One spandril is filled wilh rwo
Hying figures. a man and a woman; the other with two men wrestling,
terminating from the waist in foliated scroll-work. Half lhe spandril is
drawn in red, and appears to have left unfinished, although the
opposite spandril is treoued in a similar manner, half green, and half
gre)' The outer band is filled wilh partly natural, and partly con
ventional treatment of the large :tnd small lotus, followed by two bands
of purely conventional ornament, and another of lotus flowers, with a
large full-blown lotus in the centre.
PLATES 118 & 119.- These examples are similar in their general
arrangement 10 that in Plat e n7, but the details are different in design.
The Hying figures which occur in the spandrils of the drawings in
Plate n8 may be intended to represent lndra and his consort Sbachi,
or Vishnu with lakshmi on his lap.
1
Thi\ group of figures appears to
have been a favourite subject with the Buddhist artistS, as it is
repeatedly painted and sculptui'ed in the Caves.
PLATE 120.- This is another very beautiful design of the same
character. but not given in colour. lt is from the ceiling in the
sanctuary (Plate n6. No. tJ). As the ceiling is in tow darkness. the
painting must have been executed by means of artificial lighL On
entering the srutctuary with a light, the impression which the design
produces is that of extreme richness. the Rying figures in the spandrils
standing out with startling effect. These figures appear to be bringing
their giftS of flowers to present to the colossal statue of Buddha below.
The wreath of Oowers is admirably painted, and the band of varied
simple ornament, in black and white. is a most happy idea ; giving

THE CAVE-TEAIPLES OF AJANTA.
4(!dirional value to !he rest of the design, as rhe eye 1\0uld be satiated
with colour were 11 not (or the relief dened from the interposition <>f
this band.
In fig. 30 (Vol. I, I" 14l ;, hown a fourth of the design of rhe ceiling
in the small chapel to the left of the shrine {Plate 116. lJ). in which
a band is introduced, showing a procession of with the inte
spaces filled with floral "ork ; where the v-.tried char<tcttri$tic moe-
mcnts of each bird are veo; truthfully rendered. The de-signed
an<l drawn with great skill, is composed of a dragon attacked b) another
fabulous animal; their bodie>, part!)' covered with ...:ale>. tenninate in
intricate foliated work.
i':o description can do ju>tice to the beauty and variety of the designs
in the long panels ; which an: composed of patrol.!>. conventional bird<,
blue and white lotuses, and or her Rowers and fruiL Examples of these
are given in Plat es 122, 123. 124- d. sefJ. In Plate 122. No. 9, the
custard apple and pomegranate are most tntthfully paimed.
The small panels (Plate 131), like those in Cave l, are divided by
bands of frets. and filled with quainL droll little figures, dancing or
talking ( 17); many in Pe..,.an dress show a love for drinking ( 19).
Othen an: filled ,.ith wreath of flowers (14). with grotiJ>'> of llo\\Cr$
and fruit (58 and 68); or with conentional figures. compo..ed of human
and animal heads and bodies. tenninating in foliated work. figure.
ending in conventional foliage occur also at the EIQrn Caves {fig.
T-HE VIHARA CAVE VI.
The is a large twtHtoried cave, which was richly painted; and.
!hough liule now is left. enough remairu. to show that the an, both in
technique and motive. had an.uned its highest devclopmenL The cave
has t-n painted t,.;ice. rhe in the paintings is drawn
with remarkable skill and preci>ion , "" are also l><>me nf rhe details of
jewelry, bands. and border. to the robes of the large 'figures on the
right and lefr of the doorway to the shrine, on the ground floor (P lat es
134 and 135). These rwo dmwings have been made to how rhe
thoroughness and sktll with "hich these old artists executed even the
smallest detail.
CEILING OF THE CHAJTYA CAVE IX.
P LATE 137 is a ponion o( the decoration of the ceiling in the
aisle (Plate 136, b ;and b
1
). The ceiling is flat. and divided into
square panels by painted beams, like purlins, which arc grained in
imitation of wood. The panels are decornred with large painted rosettes
of various designs and colour, similar tO work of rhe Roman period.
The whole surfaQe of the \ault over the nave has t-n treated in the
same manner; but now h.lrdl) a vestige of rhe painting is le(L
THE Vll!ARA CAVE XVll.
Much of the ornamental detail in this cave is in a fair!) good state of
preservation. The design of the ceiling, altbough a good deal blackeneJ
by smoke, shows it to have been a skilful of work; well conceived,
and large in treatment. The amwgcrnent of the design is
shown in P late 139, and demils are given in Plates 140, 141, 14:1, and
143 g.
____ ______________________ ._ _______________ _
PLAT E 142.-ln these panels arc represented a combination of
reli!(ious emblems with subject' conceived in a light and playful mood.
In the uppe panels (r) two coch, :.nd rwo rams are represented fight-
.mended by meo who urge them on. Next to the cocks are two.
antelope' coucknnt before the emblem of rhe wheel set edgewise; and
next. a dark man seated under a tree is talking to a child. On the left
of the lower drawing (/)are represented nro antelopes coudra11t before
a dtittJba, and another antelope. before which sit a rat. and a
cobra with its head erecL In the nc>.t compartment a female figure
,..,rh a hor'\C's head (the Ktnmzrt proper) appears to be engaged in
rubbing the back of a t....-een figure; and next :&e two fubulous creatures
compo-.td of the fore-p.m of the Drahminy bull and the hindjxlrt of Lbe
hon.e.
PLATES 143 ro 14 9 .-The hall is from the aisles by
t\<cnty pillars. sixteen oong octagonal {P late 139)- The fbt surfuces
of rh<: octagonal shafts are p.&inted with designs of grut variety and
beauty, of which .re given in P lates 143 to 1.49- The
drawing.. 'peak for themselves. Any anempt at a deoocription of these
would to do them justice. The letter on each plate refers ro the
po>iticm of rhe pillar in rhe plan, Plate 139- Each set of designs is
repeated on the corresponding pillar on the opposite side of the h:tll.
P L ATE 151. ,peeimen of one of the painted figures or
Butltlh:t, -.ith which the -.all o( the Clratlya Cave XIX "as, at one
time. diapered. (Plate rso. Reference to tht subject has
already been made in the descnption of P late 8g.
PLATE 152 .-These are examples of con,cntional running orna-
ment combined with the Brahminy bull, birds. and sportive cherubs.
with which the ceiling of the in Cave X I X is (P late
1 so. a, b, and c).
PLATE 153.-This panel. enclosed by bands or the fret and
ribbon is from rhe ceiling of rhe aisle in Cave XIX ( P late
150. d), .tnd represents a group of five elephants; of" hom a white and
a (;awn-coloured one are enll"'.ted in combat. Tbe action of all ery
spirited and correctlr rendered.
PLATES 154 &. 155.-These two specimens of ponions of the
paint in!( in Cave XX 1 are given ns illustrations of coluur and method
of execution.
PLATES 157 &. 158 art' of rhe decorative details of the ceiling
in the verandah of Cave XX I (Plate 156. \ and B).
A PPENDIX.
A list of Copies of Paintings from tire Ajantti Caus. e.ucuJetl bef11Jeen 187:1 anti r88s. T/,. copies, llrty
compltletl, 'IIJere fonl!artletl to tire Secretary of Stale for lntlia, anti tleposild i" /Ire lntlia Museum.
mllflfttel! ID lht , ,..._, ..n..
SUo.
Herltt. Lengt4.

...... Pte.o.

"A'
M
"N
o
p
Q
R
s
"T
u
v
w
x
y
z
103
.104
A
a
B
IJ
c
.,
D

F
c
H
.,
J
K
"L
o I
2
3
4
s
6
7
8
9
10
ol I
" 12
.13
.,4
rsror9
0
20
0
21
22
23
" 24
25
26
0
27 & 28
29 10 35
A
B
c
D
E
A
a
B
c
D
E
F
F
G
G'
"H
A
a
c
"D
E
F
G
H
I
Copy of on lefr wall
eo.!'! o{ wall-rnting
do. do.
do. do.
do. do.
do. do.
do. do.
do. do.
do. do.
do. do.
do. do.
do. do
do. do.
do. do.
CAVE I .
Copy of figures on rhe soffir of brackets
Copy of panel from bracket capital
r 3 1 small panels from ceiling ...
29 do. do.
C AVE 11.
Copy of wall-painting in verandah
Copy of painrinf on base of pilaster
Copy of walll'3rnting in verandah
Copy of painnnf on base of column
Copy of w.tllparnting in verandah
Copy of painung on base of column
Copy of painting on right wall
Copy of painting on riht end wall, front aisle .. .
Copy of painting on le1r end wall in front aisle .. .
Copy of painting on left wall in small chapel on left of sanctuary
Copy of pain1ing on riht wall of left chapel
Copy of painting on le1r wall in right chapel
Copy of righr wall of right chapel
Copy of wallparnung .. . .. .
Copy of painting on left side wall. left aisle .. .
Copy of portion of ceiling in verandah
Copy of panel from verandah ceilibg
do. do.
do. do
do. do .
do. do.
do. do .
.. ,
Copy of panel from ceiling in the interior of cave
do. do. do .
do. do. do.
do. do. do.
Jo. do. do.
Copy of centre portion of ceiling in sanctuary
Copy of p.nels from verandah ceiling ...
do. do. ...
...
{
Copy of portion of ceiling in rhe interior of cave
Copy of panel on ceiling in the interior of cave ... . ..
Copy of centre of ceiling of small chamber ro the right of sanctuary .. .
Copy of centre of ceiling of small chamber to left of sanctuary .. .
Copy of fourth of centre portion of ceiling in ante-room ro sanctuary .. .
Copy of portion of centre of ceiling in large hall
Copy of portion of ceilinjr in the interior of cave
Cupy of panels from ceilmg in the interior of cave
do. do. do.
CA\Ilt VI.
Copy of painting on end wall of upper verandah ...
Copy of panel from ceiling of small chapel on upper floor
Copy of panels from ceiling of small chapel on nght, upper Boor ...
Copy of painting on pilaster on left of doorway to chapel. in the rigb
end of the fronr aisle of the story ... ... . ..
do. do. on ngbt of do. do. . ..
CAV IX.
Gopy of .,-aJIpainting .. . .. . .. .
Copy of small figure of Buddha on sth column on left of entrance
Copy or wallpainting .. . ... ...
do.
do. ... .. .
Copy of "'all-painting on left wall . . .. . .. .
Copy of wall-painting on band above columns on right, opposite dlgoba
Copy of portion of band above columns on right .. , ...
Copy or portion of small band on left wall
do. do.
Copy of painting on right front wall
X.
Copy of painting on wall of right aisle
do. do.
do. do.
do. do.
do. do.
do. do.
Copy of painr.ing on wall of lea aisle
do. do.
do. do.
Yr. 1!<.
19 0
8 0
6
3
7
0
12 0
4 4
4
0
10 6
10 I
9 4
9 9
10
4
8
d
9
11
10 0
each r fr.

to4'o'
9 9
4 2
2 8
3 4
2 8
25 9
10 0
9 10
8 6
8 2
8 0
8 9
J 8
11 I
8 7i
4 9
4 8t
4 10
4 11!
4 st
3 3
6 3
s 8
4 8!
4 9l
4 rot
7 3l
7 2
4 9
8 0
4 9
.. s
6 si
7 5
6 I
s 9i
4 Joi
0 9
4 2l
3 10
3 4
16 10
s 5
2 8
0 9
0 9
6 6
10 7
s 8
10 3
10 3
13 I
13
9 I
6 0
14 11
n. I"N.
7
0
6
3
3 9
4
0
.. 7
4
I
3 si
4 7
7
2
s
s
I
5
0
8
4
3 7
3 s
squ31'C
jom18"sq.
by 2' o'
1
4 3
2 6
2 5
2 4
2 s
I I 0
9 2
9 0
7 0
7
9 I
8 0
2 2
12 s
3 Sl.
o 1ol
0 lOl
rol
I 4f
I
of
I
I 6f
0 ol
0 ol
o 8t
s 7l
7 0
3 6
4 0
2 8
3 5
I 3
I 2
2 10
2 0
2 10
3 4
2 10
2 10
2 10
3 s
4 I
s 4
9 0
2 d
4 0
3 3
3 2
3 3
3 3
2 9
2 9
2 2
2 2
2 7
I
-
Damaged by fire.
do.
DestrOyed by fire.
do.
Damaged by fire.
DestrOyed by fire.
Damaged by fire.
do.
do.
do.
do.
J 136 were de
stroyed by fire.
Destroyed by fire.
Desu-oyed by fire.
DestrOyed by fire.
do.
do.
DestrOyed by fire.
do.
Damaged by fire.
do.
do.
DestrOyed by fire.
Damaged by fire .
Destro)'ed by fire.
Desu-oyed by fire.
Desu-oyed by 6re.
do.
do.
Destroyed by fire.
do.
do.
k
L
. .,

.,
J

"I
A
A
A'
o
B
I)
p
G
H
I
k
L
M
"
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;
"A
B
c
D
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G
H
I
(I
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K
K'
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9
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"A
APPENDIX.
c.wl: X ( CD11fi11tati).
Cop) of painting on wall of left aisle
do. do.
do. do.
Copy of Ruddha on the sth column on right of entrance
Copy of Buddha on 6th column on right oC entrance
Copy of Buddha on the 7th column on right of enuance
Cop)' of Buddha on the 10th column on right of entrance
Copy of Buddha on the 8th column on left of entrance ..
Copy of Buddha on the t8th column on left of entrance . ..
CAn XI.
t.:opy of upper portion to left of doorway in verandah
CA\' E XVI.
Copy of a of wall-painting
Copy of patnting on left side wall left aisle
I
Copy of painring on riJht wall, lower portion ..
Copy of painting on nght side wall, right aisle, to right side of 2n
cell doorway . ... ... . ...
I
Copy of painting on right side wall, right aisle. above 2nd and 3
cell doocways . . . . . . . . . . . . . ..
Copy of paintin.g on right side wall right aisle, from middle of 3
cell door
Copy of painting on left end ... ..u
do. on right end wall
Copy of painting on right end wall, front aisle
do. do. . ..
Copy of painting below J . .. . ..
do. do. on right front wall .. .
l.:opy of painting on front wall above L .. .
do. on left front wall
Copy of painting on left end wall front aisle
Copy of painting above pillars in verandah ...
do. do.
Copy of J.inting on left side and front wall in verandah ...
CAVE XVII.
Copy of painting on wall in verandah
do. do.
I cor: sma11 ana on front ... ...
Do. on front wall in verandah to left of lalge entrance doc -ay, and
a continuation of C ...
Copy of painting on wall in verandah .. . .
Cop) of painting on right of central doocway in verandah
do. do. do.
do. do. do. . . .
Copy uf a figure of Buddha on jamb of 2nd window to right of enuanc
Copy of prunting on left wall end aisle, and whole of left end wall ...
of painting on right wall of back aisle to centre of first cell doo
Coj>y of painting on upper portion of right wall of back aisle
Copy of J.inting on left side wall of ante-chamber ...
Copy of painting on right side wall of ante-chamber ..
do. do. ...
I
2 I
I 0
I 0
I 0
I 0
011
4
4 11
10 3
s 3
6 4
6 4
12 9
8 7l
10 I I
4 2
4 I
4 0
4 11
3 0
2 8
7 6
2 0
I 4
6 3
IJ 7
3 4
t 6 4
6 st
10 s
6 0
3 10
2 6
s
12 2
16 8
s 11
8 8
2 0
3 7
Copy of painting on lower portion of right end wall of back aisle, left
of cell door .. . .. . . . ... . .. S 9
Copy of painting above cell-door on right end wall of back aisle 10 s
Copy of painting in ante-chamber, left of sanctuary door 9 1
Copy of paincing on right side wall of right aisle .. ... 12 8
Copy ofpainlingon ri(ht wall, right aisle, above 1st & 2nd cell doorway 6 8
Copy of paincing on nght wall of right aisle... .. . .
Copy of painting on right end of right aisle ... . ..
Copy of painting on left doorway, right end wall of front aisle
Cop) of painting on left of front aisle ...
Copy of painting on left side wall, left aisle ..
Copy of painting on left end wall, front aisle
Cup) of painting on front wall .. . .
do. do.
do. do.
do. do.
do. do.
do. do.
With tbe exception of l, I, "' these are copies of panels from the
plinths of columns. l , I, "' are copies of panels on pilasters.
Cop)" nf painting on fiM pibSIU, righl 3ide wan
CAVE X IX.
Copy of portion of wallpainring of seated Buddhas on lef1 wall
C AVI'! XXI.
Copy of painting of portion of ceiling above entrance door
Copy of 13 panels on ceiling .. . . . . ..
CAVIl XXII.
Copy of paintin!J of small Buddhas on right wall of sanctuary, wit
portion of ceihng ...
3 4
7 7
s 8
3 8t
12 I
11 0
tO 11
7 tO
7 6
3 4
10 3
9 7
I 3
2 s
, 6
2 7
2 8
, 6
2 6
, 6
2 s
, 7
4 I
4 6i
6 s
2 6
2 7
2 7
2 7
10 6
5 6
4 0
3 9
3 9
a-n .
12 ,
10 s
7 0 Destroyed by fire.
3 3
2 11
4 9
3 0
2 2
4 10
4 3 Desuoyed by fire.
IS 9
6 tO
2 I I
I I
20 t
6 s
13 0
3 6
3 8
11 4
s 11
s 10
11 2
8 0
14 0
6 3
7 7
Damaged by fire.
do.
S I
7 o Destroyed by fire.
4 2
3 st
4 11
8 I
t6 0
4 o Damaged by fire.
t lol
35
2
IJ 0
S t I
11 s
4 0
3 2 Destroyed by fire.
2 1 1
4 s
4 8 Destroyed by fire.
2 2 9
14 s
6 s
12 7
4 4
3 7
37 0
13 0
5 8
3 s
9 9
, 6
10 3
4 9
I 1 1
2 0
2 3
2 3
2 s
2 5
, 6
, 2
, 3
s
2 4
1 1ol
2 10
2 4
2 3
2 3
, 4
2 7
4 10
7 s
4 7
s 4
A
AJANTA.
CAVE I.
Ill
>

u
t.:..
.;
0

>
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c
Ill
3
+
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..:
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0 :c.
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w
0
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z
Cl
0>
11
1\
AJANTA.
CAVE I.
. - -

.. .,.
93. PLAN OF CEILI NG.

20
67
94. LARGE SQUARE PANELS FROM CEILING.
FI(ON A WATBR-<:OLOUlt DRAWlNC.
(See pages 10, 18, 28, 41, Gild Plate 93, Noa. 87, 20, and 4).
"'"'
4
("')
>
<
trl
-
>

>
z

>

"
A JANTA.
CAVE I.
4
E
95. LARGE SQUARE PANELS FROM CEILING.
"
AJANTA.
CAVE I.
3
i
96. L O ~ PA); ELS FROM CEI Ll.'JG.
"
AJANTA.
CAVE I.
;
..
t:
..
..
-
..
..
..
"'
0
z
.......
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......
t.Ll
u
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r:-:
())
AJANTA
CAVE I .
98. LONG PANELS FROM CEILING.
FROM A WATER-r.QI.OtTR J)RAWISt;.
"
AJANTA.
CAVE I.
...
0

..
..
., c..:>
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AJANTA.
CAVE I.
\.!)
...
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Ill
u

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AJANTA.
CAVE I.
..
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AJANTA.
CAVE I.
d ......
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=

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I --
.
-
1.. --.:
-
102. SMALL SQUARE PANELS FROM CEILING.
fROM A WATER<OLOOR DRAWING' .
/1.
AJANTA
CAVE I.
103. SMALL SQUARE PANELS FROM CEILING.
fROlol A WATER<OLOUII DRAWING.
11
AJANTA.
CAVE I.
10 4. SMALL SQUARE PANELS FROM CEILING.
f'ROM A WATI::R<OLOUR DRAWlNC.
"
AJANTA.
CAVE I.
,.,.
... n
"
105. SMALL SQUARE PANELS FROM CEILING.
ROM A WA'fER-COLOIIR ORAW!Nt;.,
,..
AJANTA.
CAVE I.
"
110

111
17/
106. SMALL SQUARE PANELS FROM CEILING.
t'KOlol A WATER-cOLOUR DRAWING.
"
AJANTA.
CAVE I.
t3
z
-

.. ....l
....
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u
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1\
A JANT A.
CAVE I.
108. SMALL SQUARE PANELS FROM CEILING.
FROM A WATERCOLOOR DRAWING'.
AJANTA
CAVE I.
109. SMALL SQUARE PANELS FROM CEILING.
fR()M A WATR-(:0LOUR DRAWING.
AJANTA..
CAVE I.
...
. ..
.,
...
110. SMALL SQUARE PANELS FROM CEILING.
PROIII A WATR<OLOOR ORAWlN<;.
AJANTA.
CAVE I.
111. SMALL SQUARE PANELS FROM CEILING.
FROlol A WATERCOLOUR DRAWING.
70911
AJANTA
CAVE I.
eo
112. SMALL SQUARE PANELS FROM CEI LI NG.
FROM A WATER-cOLOUR DRAWING.

AJANTA. .
CAVE I.
102
113. SPANDRILS FROM CE:"lTRAL P ~ E L OF CEILI.\'G.
,..
AJANTA.
CAVE I.
;
<
E-
-
(.)
z
E-
:r:
0
-
AJANTA.
CAVEI I.
116. VIEW THROUGH DOORWAY, SHOWING CAVES BEVOSD.
AJANTA.
CAVE 11.
..
..
116. PL.At\ OF
...
1\
AJANTA.
CAVE I!.
0
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w
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-
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AJANTA.
CAVEII.
118. HALF PANELS FROM HALL CEILING.
f'ROM A WATERCOI.OUR DRAWING.
-
AJANTA.
CAVEII.
119. HALF PANELS FROM HALL CEILING.
l"IIOW A WATI:R<Ol.OUR DRAWING.
AJANTA.
CAVE I!.
120. PANEL FROM CEILING OF SHRINE-CHAMBER.
AJANTA.
CAVE II.
121. QUARTER PANEL FROM CEILING OF ANTE-CHAMBER.
f D'/1)



9
. .

AJANTA.
CAVE 11.


122. LONG PANELS FROM CEILI NG.
YROlol A WATERC:OI.OUR DRAWING.
-


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8

..
-
AJANTA.
CAVEII.
0
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CAVEII.
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AJANTA.
CAVE 11.
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AJANTA.
CAVE II.
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AJANTA.
CAVEII.
47
48
127. LO\fl. 1"\\fEI.S FROM CEI LING.
-
-
AJANTA.
CAVEII.
39
41
128. LONG PANELS F ROM CEILI NG.
fROM A WAT&Rt:OLOUR DRAWINCi.
,
12
10
37
129. LONG PANELS FROM CEILI NG.
FROM 11 WATER-COLOUR DRAWlNC.
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AJANTA.
CAVEI I.
14
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130. LONG PANELS FROM CEI LING.
FROM A WATER-c:OLOUR DRAWING.
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CAVE VI
134. f-ULL-SIZED DE fAI LS OF PORTION OF DRESS OF LARGE FIGURE,
LEFT OF SANCTUARY DooR .
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CAVE I.
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135. FULI.rSIZED DETAILS OF PORTION OF DRESS OF LARGE FIGURE,
RIGHT oF s,..r;cruARv DooR.
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137. DECORATIVE DETAIL OF CEILING.
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AJANTA.
CAVE XVI
138. \'lE\\' TJIROUGH DOORWAY. SHOWING THE PROMONTORY 8\'
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CAVE XVII.
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CAVE XVII.
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CAVE XVII
2
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144. PANELS FROM PILLAR (i) IN HALL.
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AJANTA.
CAVEII.
145. PANELS FROM PILLAR U) IN HALL.
fRO)( A \\'ATR<OU)UR ORAWING.

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CAVE XIX.
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151. PAINTED F I GURES OF BUDDHA
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CAVE XXI.
155. A GROUP OF FIGURES FROM WALL-PAINTING
FROlol A WATER<OLOUR ORAWUIO.
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CAVE XXI.
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158. PORTION OF VERA:-JDAH CEILING.
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CAVE XXVI.
159. CAR\'ED ORNAMENT FR0:\1 COLUMN IN VERA:'\DAH.
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