By Walter M Spink
Quantity 5 includes, in addition to introductory reviews, "cave by way of cave" courses. one that, very in short, describes the nature of every cave and its patronage, is meant to be worthwhile for the final customer to the location. the opposite, very distinctive, discusses the placement and peculiarities of every collapse relation to the final, yr by means of yr, improvement of the location. This quantity additionally encompasses a whole set of cave plans, and diverse illuminating charts, graphs, outlines, and maps.
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Additional resources for Ajanta : history and development.Vol. V, Cave by cave
By contrast, a more purely religious focus seems to invest the lesser aisle doorways, where clumsily composed scenes of stupa worship appear at the upper levels, with equally clumsy ﬁgural panels showing standing devotees of various types ranged along the sides. Even the elephants at the doorway bases (mostly now ruined, but recalling those on Lower 6’s porch doorway) are diﬃdently placed, clearly not planned-for until the doorways were actually blocked out, since they were not able to project assertively forward.
Cave 1 was not in the least aﬀected; it continued to ﬂourish as mightily as before. Thus, although Cave 1’s patron had been given most special treatment by Upendragupta, he was not so closely identiﬁed with that local king that either his position, or the development of his cave, was aﬀected by Upendragupta’s precipitous fall from power. The conclusion that this leads to is almost inescapable: since Cave 1 is the only cave at the site that progressed without any break or any apparent problem during both Upendragupta’s rule over the region and also during the rival Asmakas’ subsequent rule over the region, the very special donor of this highest priority cave must have been their overlord—the emperor Harisena.
The overall richness and exuberance of the doorway is magniﬁed by rearing viola brackets, projecting dwarfs, and ﬁne versions of the expected loving couples, nagas, and decorative forms. Two iron garland hooks, the left one very bent, can be seen near the tops of the taller pilasters; but it seems likely that they were never used. It is interesting to note that when the doorway was ﬁnally ﬁnished (in 477), painted “structural” details were utilized to “complete” the carved “structural” forms; this is most evident on the undersurface of the lintel.
Ajanta : history and development.Vol. V, Cave by cave by Walter M Spink