DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.2371#0103
HANI KA JJUR. 81
becomes almost impossible to do so when we have no such indications
to help us.1
In a monograph of the caves in Katak, it might be expedient to
describe the sculptures of the Rani ka Nur in detail, but even then
it would hardly be possible to render their story intelligible to others
without publishing at the same time the photographs from the casts
made from them by Mr. Locke in 1871-2. These have been
entrusted to Babu Rajendralala Mitra for publication,2 and when
given to the world it may be worth while to go more carefully into
the subject. At present it may be sufficient to indicate their general
character.
The frieze occupying the upper part of the verandah of the upper
storey is divided by the heads of the eight doorways into seven
complete and separate bassi rilievi with two half ones at the ends.
The latter, which are about the best protected from the weather,
are occupied by two running figures with their faces turned towards
the centre; the one on the left bearing a tray, apparently with
offerings, while the corresponding figure at the other end carries a
wreath, such as that which forms the frieze of the outer rail at
Amravati,3 only of course on a much smaller scale.
The first bas-relief between the doors represents three very small
elephants issuing from a natural rocky cavern, apparently to attack
a man (query, giant), who is defending himself with an enormous club,
worthy of Hercules. On his right hand in front of him is a Yakkhini,
known by her curly locks, standing on end, and behind him are a
number of females either seeking shelter in various attitudes of con-
sternation, or by their gestures offering to assist in repelling the
attack. If this is meant for history, it probably represents some epi-
sode in the story of the conquest of Ceylon by Vijaya, which is a very
favourite subject with Buddhist artists, and where elephants with
1 I have shown the photographs from the casts of the bas-reliefs to Messrs. Fausboll,
Rhys Davids, Senart, and Feer, who are perhaps the four persons who at the present
day are most competent to give an opinion on such a subject, but none of them have
been able to offer any plausible suggestions on this subject.
2 As the plates of this work have been complete for several years, and the text
printed, it is much to be regretted that the Government did not entrust their pub-
lication to Mr. Loeke or someone else, so that the public might have the advantage
of the information obtained at their expense. I am afraid there is very little chance of
their being published by the Babu within any reasonable time.
3 Tree and Serpent Worship, Plates LVI. and XCII.
T132. f
becomes almost impossible to do so when we have no such indications
to help us.1
In a monograph of the caves in Katak, it might be expedient to
describe the sculptures of the Rani ka Nur in detail, but even then
it would hardly be possible to render their story intelligible to others
without publishing at the same time the photographs from the casts
made from them by Mr. Locke in 1871-2. These have been
entrusted to Babu Rajendralala Mitra for publication,2 and when
given to the world it may be worth while to go more carefully into
the subject. At present it may be sufficient to indicate their general
character.
The frieze occupying the upper part of the verandah of the upper
storey is divided by the heads of the eight doorways into seven
complete and separate bassi rilievi with two half ones at the ends.
The latter, which are about the best protected from the weather,
are occupied by two running figures with their faces turned towards
the centre; the one on the left bearing a tray, apparently with
offerings, while the corresponding figure at the other end carries a
wreath, such as that which forms the frieze of the outer rail at
Amravati,3 only of course on a much smaller scale.
The first bas-relief between the doors represents three very small
elephants issuing from a natural rocky cavern, apparently to attack
a man (query, giant), who is defending himself with an enormous club,
worthy of Hercules. On his right hand in front of him is a Yakkhini,
known by her curly locks, standing on end, and behind him are a
number of females either seeking shelter in various attitudes of con-
sternation, or by their gestures offering to assist in repelling the
attack. If this is meant for history, it probably represents some epi-
sode in the story of the conquest of Ceylon by Vijaya, which is a very
favourite subject with Buddhist artists, and where elephants with
1 I have shown the photographs from the casts of the bas-reliefs to Messrs. Fausboll,
Rhys Davids, Senart, and Feer, who are perhaps the four persons who at the present
day are most competent to give an opinion on such a subject, but none of them have
been able to offer any plausible suggestions on this subject.
2 As the plates of this work have been complete for several years, and the text
printed, it is much to be regretted that the Government did not entrust their pub-
lication to Mr. Loeke or someone else, so that the public might have the advantage
of the information obtained at their expense. I am afraid there is very little chance of
their being published by the Babu within any reasonable time.
3 Tree and Serpent Worship, Plates LVI. and XCII.
T132. f