DOI Page / Citation link:
https://doi.org/10.11588/diglit.2371#0086
64 EASTERN CAVES.
The Sanchi Tope, which forms the third of the series, has also
been illustrated with all the detail requisite for a proper under-
standing of its historical and artistic position. In the first place
we have General Cunningham's work on the subject published in
1854, which is the foundation of our historical knowledge of this
tope, to which may be added an extensive series of photographs by
Captain Waterhouse, made in 1862. "We also possess a beautiful
series of drawings by Colonel Maisey ; and in addition to an exhaus-
tive transcript of its sculptures, by Lieutenant Cole,1 there are also
the casts he brought home, and copies of which are now in the South
Kensington and Edinburgh Museums.
From all these data the date of this monument has been ascer-
tained with sufficient precision for our present purposes at least.
The southern gateway, which is the earliest, seems to have been
erected by a king who reigned between the 10th and the 28th year
of the Christian era, and the other three gateways during the
remaining three-quarters of that century.2
There is still a fourth building equally important for the general
history of architecture in India, though not bearing so directly as
that of the caves in Orissa as the other three. The principal sculp-
tures of the tope at Amravati were executed during the course of
the fourth century of our era,3 and are perhaps the most beautiful
and perfect Buddhist sculptures yet found in India, and as such full
of interest for the history of the Art. It cannot, however, be said
that any of the sculptures in the caves at Udayagiri are so modern as
they are, but this being so, marks at all events the limit beyond
which the Orissan caves cannot be said to extend. On the other
hand, with our imperfect knowledge of the Buddha Gaya rails it is
fig. l.), and consequently this sculpture cannot certainly be earlier than the second
century a.d., and may be much more modern. It is just possible, no doubt, that it
may not be integral, but may have been added afterwards when the larger rails were
inserted, which cut through the inscription. This, however, is hardly probable, but
until this is explained all the evidence, as it now stands, tends to prove that this
Mathura inscription is much more likely to be 200 years after Christ instead of 200
before that era, as General Cunningham seems inclined to make it.
1 All these have been utilised, and form the first 45 plates of my Tree and Serpent
Worship, published in 1873, second edition.
2 Tree and Serpent Worship, p. 99.
3 Tree and Serpent Worship, Plates XLVI. to C. (For dates see p. 178,) probably
from about A.i>. 322 to 380.
The Sanchi Tope, which forms the third of the series, has also
been illustrated with all the detail requisite for a proper under-
standing of its historical and artistic position. In the first place
we have General Cunningham's work on the subject published in
1854, which is the foundation of our historical knowledge of this
tope, to which may be added an extensive series of photographs by
Captain Waterhouse, made in 1862. "We also possess a beautiful
series of drawings by Colonel Maisey ; and in addition to an exhaus-
tive transcript of its sculptures, by Lieutenant Cole,1 there are also
the casts he brought home, and copies of which are now in the South
Kensington and Edinburgh Museums.
From all these data the date of this monument has been ascer-
tained with sufficient precision for our present purposes at least.
The southern gateway, which is the earliest, seems to have been
erected by a king who reigned between the 10th and the 28th year
of the Christian era, and the other three gateways during the
remaining three-quarters of that century.2
There is still a fourth building equally important for the general
history of architecture in India, though not bearing so directly as
that of the caves in Orissa as the other three. The principal sculp-
tures of the tope at Amravati were executed during the course of
the fourth century of our era,3 and are perhaps the most beautiful
and perfect Buddhist sculptures yet found in India, and as such full
of interest for the history of the Art. It cannot, however, be said
that any of the sculptures in the caves at Udayagiri are so modern as
they are, but this being so, marks at all events the limit beyond
which the Orissan caves cannot be said to extend. On the other
hand, with our imperfect knowledge of the Buddha Gaya rails it is
fig. l.), and consequently this sculpture cannot certainly be earlier than the second
century a.d., and may be much more modern. It is just possible, no doubt, that it
may not be integral, but may have been added afterwards when the larger rails were
inserted, which cut through the inscription. This, however, is hardly probable, but
until this is explained all the evidence, as it now stands, tends to prove that this
Mathura inscription is much more likely to be 200 years after Christ instead of 200
before that era, as General Cunningham seems inclined to make it.
1 All these have been utilised, and form the first 45 plates of my Tree and Serpent
Worship, published in 1873, second edition.
2 Tree and Serpent Worship, p. 99.
3 Tree and Serpent Worship, Plates XLVI. to C. (For dates see p. 178,) probably
from about A.i>. 322 to 380.