DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.2371#0125
UNDAVILLA CAVES ON THE KRISHNA RIVER NEAR BEJWARA. 103
■well,1 " there are remains of a considerable number of rock-caves
and temples, evidently of Buddhist origin." " There is a rock-temple
in two storeys close to the village, which has recently been utilised
as a granary." " In various places the figures of elephants and other
animals in the Buddhist style of representation2 are to be seen
depicted. At one place there is a Mantapam or porch cut out of
the rock and supported by stone pillars, more solitary cells, and
lastly a rock temple (that of Undavilli) in four storeys of con-
siderable proportions."
Among these it may hereafter be possible for some one thoroughly
familiar with the details of Buddhist architecture to identify the
" grande caverns " in which, according to the traditions reported by
the Chinese pilgrim Hiuen Thsang, Bhavaviveka resided awaiting
the coming of Maitreya Buddha to dissipate his doubts.3
There is, however, nothing about this Undavilli cave that could
have been considered as old in Hiuen Thsang's time, and there is no
form or feature about it that could at any time be ascribed to the
Buddhists, while from the nature of its plan, and its being con-
structed in the rock, it is impossible that all "the Buddhist details—
if they ever existed—could have been so altered and obliterated as
to be no longer recognisable. We may say we now know exactly
what the Rock-cut Architecture of the Buddhists was during the
seventh and eighth centuries to which this cave certainly belongs,
and it was not like this. At the same time, if the date assigned to
the Raths at Mahavallipur, to be described in the next chapter, is
correct, we may feel equal confidence in asserting that we know
what the style was, which the Hindus adopted in the south of India,
1 Report to the Madras Government, 1870.
2 It is difficult to say what the " Buddhist style of representation " of an elephant
really is. There is a large bas-relief of an elephant at Ajanta and two others at Kuda in
Buddhist caves, and many smaller ones on friezes ; in the Hindu Kailasa, at Elura,
there are many in alto-rilievo, and two free standing; there are four or five free stand-
ing ones at Amba, a bas-relief at Karusa, and there was a colossal free standing one at
Wephanta, all Brahmanical; one free standing one and several in bas-relief at Maha-
vallipur; and there is a free standing one and many heads, &c. in the Joina temples
at Elura, but no antiquary can show that each sect had its " style " of representing
elephants. The carving of all figures varies more or less with the age in which they
were executed, but " elephants " less than almost any other figure, and usually they are
better carved than any other animal.
Mhnoires sur les Cont, Occid., torn, ii. p. 110. It is to be remarked that Hiuen
ihsang says he "rested in the palace of the Amras," not in a Buddhist temple.
■well,1 " there are remains of a considerable number of rock-caves
and temples, evidently of Buddhist origin." " There is a rock-temple
in two storeys close to the village, which has recently been utilised
as a granary." " In various places the figures of elephants and other
animals in the Buddhist style of representation2 are to be seen
depicted. At one place there is a Mantapam or porch cut out of
the rock and supported by stone pillars, more solitary cells, and
lastly a rock temple (that of Undavilli) in four storeys of con-
siderable proportions."
Among these it may hereafter be possible for some one thoroughly
familiar with the details of Buddhist architecture to identify the
" grande caverns " in which, according to the traditions reported by
the Chinese pilgrim Hiuen Thsang, Bhavaviveka resided awaiting
the coming of Maitreya Buddha to dissipate his doubts.3
There is, however, nothing about this Undavilli cave that could
have been considered as old in Hiuen Thsang's time, and there is no
form or feature about it that could at any time be ascribed to the
Buddhists, while from the nature of its plan, and its being con-
structed in the rock, it is impossible that all "the Buddhist details—
if they ever existed—could have been so altered and obliterated as
to be no longer recognisable. We may say we now know exactly
what the Rock-cut Architecture of the Buddhists was during the
seventh and eighth centuries to which this cave certainly belongs,
and it was not like this. At the same time, if the date assigned to
the Raths at Mahavallipur, to be described in the next chapter, is
correct, we may feel equal confidence in asserting that we know
what the style was, which the Hindus adopted in the south of India,
1 Report to the Madras Government, 1870.
2 It is difficult to say what the " Buddhist style of representation " of an elephant
really is. There is a large bas-relief of an elephant at Ajanta and two others at Kuda in
Buddhist caves, and many smaller ones on friezes ; in the Hindu Kailasa, at Elura,
there are many in alto-rilievo, and two free standing; there are four or five free stand-
ing ones at Amba, a bas-relief at Karusa, and there was a colossal free standing one at
Wephanta, all Brahmanical; one free standing one and several in bas-relief at Maha-
vallipur; and there is a free standing one and many heads, &c. in the Joina temples
at Elura, but no antiquary can show that each sect had its " style " of representing
elephants. The carving of all figures varies more or less with the age in which they
were executed, but " elephants " less than almost any other figure, and usually they are
better carved than any other animal.
Mhnoires sur les Cont, Occid., torn, ii. p. 110. It is to be remarked that Hiuen
ihsang says he "rested in the palace of the Amras," not in a Buddhist temple.