 |
Cave 11: Believed to be excavated in phase II, it has an entrance with a lion-head at each end of the threshold. The ceiling of the verandah is painted with trees, birds, beast and geometric design. The walls of the hall are adorned with figures of the Buddha.
Cave 12: Among the earliest of monasteries its doorways in the hall are topped with arched Chaitya window motifs. Particularly noteworthy is a Brahmi inscription recording the gift of the rear wall of the cell in the right corner of the hall.
Cave 13: It is a small monastery belonging to the earlier phase of excavation. The hall has seven narrow cells, each with two stone beds. One of the cells has a raised stone pillow in it.
Cave 14: This cave, excavated at a higher level, can be reached by passing through an incomplete cave. It has a central doorway whose top is adorned with attendants and maidens clutching branches.
Cave 15: A two-tiered structure, it has a Stupa with a canopy of serpent hoods in the lower tier. The upper tier has a Chaitya window motif with a pair of beautifully carved pigeons. The rear wall of the hall is carved with an image of the Buddha seated on a throne.
Cave 15A: Reached by a descending flight of steps near Cave 15. the
walls of the hall are carved with Chaitya window motifs in relief. Each of
the cells in the hall has a door and raised platforms, which served as beds.
Cave 17: The greatest number of wall-paintings are preserved in this cave. The doorway shows a row of eight Buddhas surrounded by female guardians, river gooses, and scrollwork and lotus petals. On the left side wall of the verandah is the unusual composition of the Wheel of life displaying all of creation. The painting in the hall illustrates the Jataka tales.
Cave 18: A rectangular excavation, it has two pillars with molded bases and octagonal shafts leading into another cell.
Cave 19: One of the most perfectly executed rock-cut Chaityas with elaborately carved interiors. Seated Budda figures as well as riders, flying figures, hermits and musicians adorn the column capitals. Two rows of richly decorated columns lead up to the standing Buddha. The shrine has a triple stone umbrella above the monolithic Stupa.
Cave 20: A small monastery with delicately carved verandah columns and bracket figures. The hall has no pillars, and some of the cells inside have, above their lintels, a design, which resembles the Shikhara - the top of a temple.
Cave 21: A monastery which, although only partially complete, has many richly ornamented columns. On the left wall is a fragment of a painting showing the Buddha preaching to the congregation. Above the side shrines of the verandah are carved Hariti, the goddess of prosperity, and her attendants to the right, and a court of Naga, the serpent king to the left.
Cave 22: Excavated at a higher level, this small monastery with a narrow verandah has four unfinished cells. On the right wall of the shrine are painted the seven Manushi-Buddhas with Maitreya, under their respective Bodhi Trees.
Cave 26: The interior of this Chaitya Hall is decorated with carved Buddha figures. The focal Stupa has an image of the Master seated in a pavilion. The two narrative scenes on the left wall show the temptation by Mara, the god of passion, and a colossal carved figure of the reclining Buddha, depicting his ultimate salvation from the cycle of rebirth-the Mahaparinirvana. The disciples beneath are shown to be mourning the decease of the master, while celestials are rejoicing in his salvation.
Cave 27: An adjunct cave 26, it has a shrine and an antechamber with its narrow front wall portraying a Naga king, a couple and a female standing gracefully on a Makara, a mythical sea monster, with a bird perched on her right hand. The shrine has an image of the Buddha in teaching attitude.
|
 |
 |
|||
 |
|
 |
||
 |
 |