DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.2371#0348
326 BUDDHIST CAVE-TEMPLES.
in these caves. At the bottom on each side is a dwarpala, with a
five-headed snake hood, above which are four compartments, with
a male and female figure in each, and beyond and outside these two
female figures standing on the head of pillars representing—it is
generally understood—the rivers Ganges and Jumna. The figure so
sculptured is of considerable elegance, but is surpassed as in these
later caves, by the sculptured foliage with which it is interwoven,
which is here of great beauty.
The whole of this cave has been painted, though near the floor it
has entirely disappeared. Within the last fourteen years much of
the painting in all the caves has either fallen off or been wantonly de-
faced ; yet there are some as interesting fragments in this as in any
other cave, and most of wdiat does remain has been copied by
Major Gill and Mr. Griffiths. The ceiling of it has been copied in
about a hundred separate panels.1 Mr. Griffiths thus describes it :—
" Having divided the ceiling into a number of panels, with a circle
for variety in the central division, we find these panels filled with
ornaments of such variety and beauty, where we have naturalism
and conventionalism so harmoniously combined as to call forth our
highest admiration. For delicate colouring, variety in design, flow
of line, and filling of space, I think they are unequalled. Although
every panel has been thought out, and not a touch in one careless ly
given, yet the whole work bears the impression of having been done
with the greatest ease and freedom, not only freedom of execution,
but also freedom of thought, as a reference to the copies made
will testify. **
" The ornament in the smaller squares is painted alternately on a
black and red ground. The ground colour was first laid in, an<
then the ornament was painted solidly over this in white. It was
further developed by thin, transparent colours over the white.
" In order fully to appreciate the copies of the paintings, it i
necessary to bear in mind that the originals were designed an
painted to occupy certain fixed positions and were seen in a subc i
light. Many of the copies of the panels, on close inspection, appea
coarse and unfinished; but seen at their proper distance (never
than 7 feet from the spectator) apparent coarseness assumes^ a
cate gradation."
f fi cures
On three of the panels of this ceiling a striking group or
1 These are now at the India Museum.
in these caves. At the bottom on each side is a dwarpala, with a
five-headed snake hood, above which are four compartments, with
a male and female figure in each, and beyond and outside these two
female figures standing on the head of pillars representing—it is
generally understood—the rivers Ganges and Jumna. The figure so
sculptured is of considerable elegance, but is surpassed as in these
later caves, by the sculptured foliage with which it is interwoven,
which is here of great beauty.
The whole of this cave has been painted, though near the floor it
has entirely disappeared. Within the last fourteen years much of
the painting in all the caves has either fallen off or been wantonly de-
faced ; yet there are some as interesting fragments in this as in any
other cave, and most of wdiat does remain has been copied by
Major Gill and Mr. Griffiths. The ceiling of it has been copied in
about a hundred separate panels.1 Mr. Griffiths thus describes it :—
" Having divided the ceiling into a number of panels, with a circle
for variety in the central division, we find these panels filled with
ornaments of such variety and beauty, where we have naturalism
and conventionalism so harmoniously combined as to call forth our
highest admiration. For delicate colouring, variety in design, flow
of line, and filling of space, I think they are unequalled. Although
every panel has been thought out, and not a touch in one careless ly
given, yet the whole work bears the impression of having been done
with the greatest ease and freedom, not only freedom of execution,
but also freedom of thought, as a reference to the copies made
will testify. **
" The ornament in the smaller squares is painted alternately on a
black and red ground. The ground colour was first laid in, an<
then the ornament was painted solidly over this in white. It was
further developed by thin, transparent colours over the white.
" In order fully to appreciate the copies of the paintings, it i
necessary to bear in mind that the originals were designed an
painted to occupy certain fixed positions and were seen in a subc i
light. Many of the copies of the panels, on close inspection, appea
coarse and unfinished; but seen at their proper distance (never
than 7 feet from the spectator) apparent coarseness assumes^ a
cate gradation."
f fi cures
On three of the panels of this ceiling a striking group or
1 These are now at the India Museum.