DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.2371#0536
514
APPENDIX.
capitals (Plate
XCVL,
figs.
2 and 3)
are
familiar to us,
the one
as an
example
o£ the
bell-shaped
quasi
Persepolitan
capitals,
which we find surmounting the lats of Asoka at Sankissa and
Bettiah1 which are certainly of his time, and which afterwards
assumed the more Indian forms we find at Bedsa (woodcut 45)
and at Karle (Plate XII.) as well as elsewhere; the other as
the original of those found at Kanheri in the great cave there, as
well as in numerous viMras, and which long afterwards bloomed into
the cushion capitals of Blephanta (woodcut, p. 467). These pillars
are surmounted by figures, as is so generally the case in the early
cares, but in this instance they are exceptional, being fabulous
animals, human female busts united to bovine bodies. Not, con-
sequently, centaurs, but sphinxes, and, except in the Xahapana care
at Nasik (Plate XXIII., fig. 3), nearly if not quite unique.
The eastern (Plate XOYII., fig. 3) and inner sides of the cave are
very nearly similar, except that the latter is slightly more elaborate,
and the jambs of its two doorways slope inwards at rather a greater
angle. The west side, however, has no doorways, but their place
is supplied by two niches, in one of which is an ascetic, with his
hair twisted into a high top knot, and with a staff in his hand. In
the other is a layman, probably a prince, and as probably the ex-
cavator of the cave, but there is nothing about him by which he can
be identified with any known personage.
The sculptures in the verandah are, however, much more remark-
able than those in the interior. Beginning at the east end (Plate
XOYIII.) we have a prince mounted on a richly caparisoned elephant,
with an attendant behind, who carries a standard, surmounted by
the trisula ornament, as at Sanchi, and also what apparently was
meant as the chattri or umbrella of state. He drives himself, having
the ankusa in his hand, and the elephant has apparently torn up a
tree from its roots, and is brandishing it in his trunk. In front o
him are several small figures, some apparently floating in the an-
The most remarkable of these, however, are three :—two male anc
one female—with the most extraordinary head-dresses, standing o1
the top of a tree, of a species not seen in any other sculptures,
surrounded by a rail, and with a goose or some such bird ben"1'
1 Hist, of Indian and East Architecture, Woodcuts 5 and 6. „ ,
2 There are figures surmounting capitals at Buddha Gaya (Eajendralala Mitra
Gaya, Plate L.) which seem to represent the same symbolism, but they are so
worn that it is difficult to feel sure what they are intended to represent.
APPENDIX.
capitals (Plate
XCVL,
figs.
2 and 3)
are
familiar to us,
the one
as an
example
o£ the
bell-shaped
quasi
Persepolitan
capitals,
which we find surmounting the lats of Asoka at Sankissa and
Bettiah1 which are certainly of his time, and which afterwards
assumed the more Indian forms we find at Bedsa (woodcut 45)
and at Karle (Plate XII.) as well as elsewhere; the other as
the original of those found at Kanheri in the great cave there, as
well as in numerous viMras, and which long afterwards bloomed into
the cushion capitals of Blephanta (woodcut, p. 467). These pillars
are surmounted by figures, as is so generally the case in the early
cares, but in this instance they are exceptional, being fabulous
animals, human female busts united to bovine bodies. Not, con-
sequently, centaurs, but sphinxes, and, except in the Xahapana care
at Nasik (Plate XXIII., fig. 3), nearly if not quite unique.
The eastern (Plate XOYII., fig. 3) and inner sides of the cave are
very nearly similar, except that the latter is slightly more elaborate,
and the jambs of its two doorways slope inwards at rather a greater
angle. The west side, however, has no doorways, but their place
is supplied by two niches, in one of which is an ascetic, with his
hair twisted into a high top knot, and with a staff in his hand. In
the other is a layman, probably a prince, and as probably the ex-
cavator of the cave, but there is nothing about him by which he can
be identified with any known personage.
The sculptures in the verandah are, however, much more remark-
able than those in the interior. Beginning at the east end (Plate
XOYIII.) we have a prince mounted on a richly caparisoned elephant,
with an attendant behind, who carries a standard, surmounted by
the trisula ornament, as at Sanchi, and also what apparently was
meant as the chattri or umbrella of state. He drives himself, having
the ankusa in his hand, and the elephant has apparently torn up a
tree from its roots, and is brandishing it in his trunk. In front o
him are several small figures, some apparently floating in the an-
The most remarkable of these, however, are three :—two male anc
one female—with the most extraordinary head-dresses, standing o1
the top of a tree, of a species not seen in any other sculptures,
surrounded by a rail, and with a goose or some such bird ben"1'
1 Hist, of Indian and East Architecture, Woodcuts 5 and 6. „ ,
2 There are figures surmounting capitals at Buddha Gaya (Eajendralala Mitra
Gaya, Plate L.) which seem to represent the same symbolism, but they are so
worn that it is difficult to feel sure what they are intended to represent.